Cecilia Bartoli - Interview - English Version

[Music] for for [Music] [Music] [Music] Miss I guess that your Patron in heaven takes good care of you well I hope so I hope so I'm singing since 20 years now so uh yeah 20 years yeah it's nice to have this name it's nice to have patron of Music yes yes but actually it's a very Italian Roman name chichila you can find lot of chilas in Rome more than in other places in Italy yes when I saw you singing I had the impression I couldn't imagine sing you doing anything else but music could you imagine that you could do something different than singing than music different is difficult because I I'm coming from a musical family so my parents are both singers and um and I was actually I grew up with the music I grew up in an opera house so yes with with all the you know Verismo and oper ni place for a young kid to grow up yes it was a interesting place because actually uh this was the time my parents they were singing in the choir so they had a career professional career I mean as a solist at the beginning but then later they decide to go in a COR so and and then it was the time actually that when were they were singing I was free to just jumping from one side to the other of the stage so beyond stage of course with the other children so I really enjoyed yes being in the music and being I mean not not necessarily a singer but just listen to the music and make music yeah so at what age did you first enter the stage oh very young very young yes because I remember uh I was fascinating about the season in summertime uh you know in Rome they had a season I think they're still doing this in the ter carala so Roman bath actually and um where the three tenners they have done the concert so the first concert and then this was a spectacular place I mean to be there in the summer for months so and and I remember my first opera was um was AA yes and AA you know the stage was huge and they had any kind of animals on stage you know and this was fascinating yes dancer and costumes this was something Unforgettable yeah is your mother still your singing teacher she's my teacher I mean I was studying with her yes and she's coming sometimes now not so often like at the beginning of my career but definitely I learn the technique with her I have seen a lesson that she gives to you and that's not easy to open the throat the way she wants you to no I mean what is very important in order to especially at the beginning I think um if you really want to sing for a long time and because you need to build a technique I mean like any profession a singer lawyer tennis player that's right yes and I think this is what you have to do and it's it's so important to have the right teacher at the right time and I was lucky yes with having my parents yes teaching me I went to the school of course the conservatory but um but we didn't have enough lessons there so is there a special kind of training for colura singing it's like an instrument I think yes it's like really like an instrument you have to play um sing I mean you first of all you need to control the breath this is the major Point how to control your breath and this you you need to learn this as a first step how to breathe out control that how to sustain a phrase and the more you're capable to sustain a phrase the more you can do with your instrument yeah yeah well but there needs to be the personality behind the instrument there's a lot of people who know the technique but you don't feel the the spirit beside it yes yes of course because music is not only about technique it's about emotion so and you need to combine that you need to combine uh the emotion but you can only put emotion when you're free with your Technique you are free to fly and to sing like a bird yes when I watched you singing um vival Aras so I had really this impression this extraordinary difficult Parts you look like a small dog running between the poles and they cannot wait to get to the next even more difficult level you seem to have so much fun no I mean in the music of vial you know Vivaldi was such a an amazing composer was really able to put uh so many emotion in the music and about nature actually I think you can see and you can hear nature with the Vivaldi Music and you have a lot of ARA which are storms area then you really need to to understand what a storm is you know and and being a storm being in a ship in a storm right on the sea so and then I think then then if can have this experience then you can translate all this experience yeah in in the music and yeah and then you have a very lyrical lyrical moment also in the music of Vivaldi melancholic moment I think yeah this is exciting it's like painting you have to paint I think when I'm singing I I'm thinking about painting with my voice yes isn't it unbelievable that such a composer is a worldwide known only for his instrumental material and suddenly you were the first one who recorded his well maybe not the really first one but I yes was I was um I really dedicate one album of One recording on Vivaldi Music the Opera Aras of Vivaldi which at 99 most of them were performed and recorded for the first time and this of course was a huge success because was quite unexpected for for for the audience you know and for me too yeah yeah well and it was a big discovering actually and I'm glad and now more I mean since 99 the music of vial is becoming more and more popular because more singers more conductors love to conduct his music yeah I think people are surprised that first they uh realized that vival is not only the Four Seasons exactly it's not only for seasons and not only the concertos yes as you said instrumental music no he was one of the greatest in the 19 century one of your other CS is dedicated to saleri yes don't you think I think uh his story was quite unfair to yes absolutely quite unfair I mean he was a great composer you know is was the composer of the Y of uh the emper you know was I mean but of course Mo nobody can be compared with Mo I mean Mo was Mo I mean and but I think s did a good job yes the problem with certi then lots of people they judge ceri without knowing his music exactly and this is terrible I he he has this stigma burned out stigma and it goes with the name all over all over for centuries scarlotti nothing wrong with scarlotti he didn't poison anyone and it's not sure if he did it I guess he didn't I mean of course no I mean do with but that's the only thing average people know about saleri no but I think it's due also to the uh to the movie movie which you like it I mean it was quite an well it was a Hollywood mood done by a chick but is a little bit Holly is in a hollywoodish style but at the end I mean the movie was quite uh what can I say um funny in a way but um definitely I think um saleri was described in a very yeah rudimental way I will say I think the music of saler is quite interesting I have to say and like I have to say even heyen you know Heiden is always a composer which is in the shadow of MOA but I think Heiden was one of the greatest of his time also I think so another city which you you have done and which was extremely successful was the music uh written for castrati yes recently actually yes yes and that's quite a difficult task for a woman isn't it it is it's a difficult task it's a real challenge actually this is a project about the napolitan school I mean the the 18th century the Italian school I mean most of the castra were coming from Italy and you know Naples was an important city for I mean for them they they had a conservatory there for conservatory in 18th century and the great teacher of of castrados was porpora teacher and composer but so you have for from one side you have this beautiful music which was written for them by porper by h little bit but you have a terrible story because I mean in Italy uh thousand boys were castrated every year thousand boys thousand for 100 years almost because the last castr you know if I don't know if you had the chance to to hear a recording of Las castr from the existing Chapel no his name was morisi was not a very good one it didn't really had a good technique but can you imagine this was in the beginning of of 20th century almost yes yeah that's unbelievable can you imagine I mean it's unbelievable that's really bad if you go through it and then they realize you are not a good singer no that's the problem that's the problem most of them are coming for poor family you know poor family with many children I mean 10 12 and one was sacrific on the me of Music on the name but in fact they didn't know I mean since they were castrated at the age of five six before the mute of the voice in order to keep the high voice yeah but this was the chance the only chance to earn money actually because if the the young boy was able to make a career then he was really able to learn make lot of money like you know the greatest farinelli and cafarelli yes because they were Rich they were like pop star like Michael Jackson you know really farinelli was something yeah so popular so how was it for you to study this music this music for women it is a challenge because you know castros were men with female voice but with man power power man body so man when I'm saying that I give you very simple example so it's a man has a bigger possibility of of oxygen in the lung than a woman the capacity of the oxygen is bigger so and for a woman actually you have to sustain this you really have to train again how to breathe how to control and and of course you have the the virtual side but you also have the um the the expression that it's imperative to sing with expression and castr a good castr was the one who was able to sing with a strong technique but making people uh crying because of the feeling the Deep feeling they were able to to express yeah you could be a good diver I don't know but but I love to swim that's true that's true swimming it's it's can be a good sport for a singer yes you don't sing too much contemporary music do you no no it's true I I don't and and it's a it's a Pity actually because I you know I think contemporary music today we lost a little bit this contest this contact between composer and interpreter you know and solist what actually all these composers that we mentioned they had they had the possibility to work with singers Mo had this possibility saleri had this possibility Vivaldi also with a girl in Venice but today I think it's a pachy then you know is yeah yeah well pop star they do have they do yeah they do they compose the music themselves or but but still yeah they they had this they have this this relation between composer and singers but now not so much not not anymore which is a Pity yeah is there someone you could say this is a new verie or new Pini is there some Opera some contemporary Opera of today that you would say this goes in this line go in this line is very difficult because you know I think at certain point the composers they de they decide to stop to compose tonal music yes this is it's a big challenge I mean you have but in a way so they stop they start to compose atonal music so in the modern classical music but if you go what is strange if you go and listen you go and see a movie you have tonal music that's true you know yeah so it's most of of the big movies I mean they they have Tona music so is a strange I think moment yeah if you sing verie or Pini and then you sing U Mozart I think it needs two absolutely different approaches could you describe what is the difference for a singer if you sing pin or if you sing Mozart well first well Mozart and and Pini I mean it's or Mo and verie it's it's is a different Century so it's a different way is a different approach on on the on the feelings on the style on the sty on the style I think what you shouldn't stylistically so you have to follow the the I think uh stylist first of all you have to follow what the composer compos I think this is the most important thing that many people forget yeah so just to open the score and follow you know I was thinking about those things like vibr or uh romantic singing how much of it can you use uh with one author and with the other if if you could show it on a example what what kind of of interpretation you you shouldn't definitely uh use when you are singing conert for instance from the Romantic uh from the Romantic well this kind of I mean but you know the Romantic you I think it's um in a romantic time but still I think also romantic today I have some Reserve about about the people how people they really sing romantic music how do people sing Verismo music but definitely portento for instance then they used to make a lot of portamento in the Pini music then you you have have to avoid this I think in the mozer music this kind of portamento but sometime depends if it's a portamento I will say because you have um uh problem with your Technique because sometimes people they don't realize portamento it's a way of you know of touch the node yeah but without you know really having the the technique to touch the no so to yeah and to slightly you go there but I think definitely is something you have to avoid in the Mo Music Moz needs a lot of Purity and clear intonation and emotion same with the Bellini music actually I think you have this beautiful line in Bellini music simple line but bellini is already belant I will say you know he already in this so it's a 19th Century composer but I think you have to sing Bellini music with the same Purity like Mo if I would ask you is there a composer which whose music is for a singer for the opera singer uh like climbing the Everest some Works which are really difficult for a singer for a singer you know it's it's to generalize it's very difficult which kind of singer which because every singer is different but I what can I say I mean in my um experience what I have done recently with this project sacrificium is definitely probably the most difficult project and um repertoire I have done in my life because this music was not written for women it was written for a man you know and I think for my experience I have to say that this was the most difficult yes I have seen a documentary about you and there was a concert I guess it was in h Los Angeles and after the concert there was a queue of 500 people who waited with programs and you signed all of them so yes this mean the signing was longer than the performance have to say this is something you do frequently or was it an exception well I can say then I'm doing this uh in a matine concert yeah yeah well but uh sometimes it's it's it's true that the audience they love to to come to say hello to shake your hands and and uh it's in can be inspiring but most of the Divas they just left five seconds after the performance they are gone yeah well depends depends on the appointment and the uh then then then you have the next day but uh I'm not doing signing every time so but sometimes yes I love to do that this is because they call you atie Diva do you know that well I read it yeah well what Diva really means actually it's it's a positive was a negative expression what do you think well uh it depends it depends depends yes but you know I have the feeling then today when you call a diva I mean I is a quite a negative expression but but I realized what Diva really means I mean studying this the story The Life of Maria malbran you know Maria maliban I think was the first Diva yes uh 19th century why because she was an amazing singer composer uh she was playing several instrument she was a kind of muse for so many uh poet and and composer of that period I think this what Diva means I mean to have so many talent in one person as a goddess you know almost do you still have uh your fear from from flying well I don't like flying but well but I was in Australia yeah so for the first time nothing can be worse recently so I don't like flying but I prefer other way of traveling you know train ship bicycle yeah but is this your first time in Prague I can say it's the first time that I'm performing in Prague but I was in Prague I was passing to Prague because I did a documentary about ceri I think some years ago so you had to visit the theater yes yes so but uh um I did a documentary with um Gerard de yes and when saleri was I mean this project was released the recording so and I visit prag but I I I would love to spend more time because it's is such a fantastic I would like to spend more time with you but you're busy yes time is our enemy yeah yeah thank you very much for giving a part of your time to our program it was a honor to have you here my pleasure thank you [Music]

Channel: JP

Views: 91,659

Keywords: Interview, pragua, Cecilia Bartoli (Musical Artist), Exclusive, Interviews, Interview Part, Full

Id: EGgiFnhYN7A

Length: 22min 1sec (1321 seconds)

Published: Wed May 01 2013