I read the book, Cinderella & Company by Manuela Hoelterhoff, a Pulitzer Prize winning journalist for the Wall Street Journal. It is about the professional career and life of Cecilia Bartoli as well as other opera characters including Pavarotti. One reason I chose to read this book is because of the character Despina from Cosi Fan Tutte. The song “In Uomini, In Soldati” is one of the arias sung by Despina, and it is also an aria I have sung too many times too count, in too many venues to count, from Miss South Carolina, to Carnegie Mellon. Well, Cecillia Bartoli is definitely the most famous Despina there has ever been. Several chapters in the book were dedicated to her role as Despina.
Cecilia Bartoli was born in Italy, and consequently she rose to stardom a bit differently than many American stars. She rose to prominence in her early twenties, much younger than most opera singers. In this profession reaching professional success and widespread appeal isn't usually achieved until the thirties. She was a star before she sang at the Met. Since she was immensely popular before her debut at the Met, her debut could be planned. She was to be in Cosi Fan Tutte, however, many assumed she would be singing the more titular role of Dorabella, one of the sisters. She wanted to sing Despina. Many people were confused by her choice, but she was an enormous success. Cecilia is superb at facial expressions and energy, and her Despina stole the show. She has always been my inspiration for the character of Despina, and it was very informative to read about her experience.
Cecilia Bartoli has an unusual timbre to her voice. She is categorized as a coloratura mezzo-soprano, but she has sung roles and repertoire for soprano as well. She is very popular among concert goers today for her lively stage presence.
She will stop at nothing to be innovative or try something new. For example, in one scene, Despina is disguised as a notary and has to have an accent.
“”My accent. What should I do? I want to try something different. Some other accent.’
‘How about this: why don’t you try talking Italian like an American?’ Guarino offered.
‘Hmm.. It’s a very good idea I think. What an idea. i am going to try it!’” (p. 92-93).
This excerpt is just one example of how Cecilia was dedicated to the originality of her characters, especially Despina.
As I begin to prepare what I would like to perform for my final concert, I think of how Cecilia has inspired me. I have always performed, “In Uomini,” but now I would like to explore Despina’s other aria, “Una Donna.” Both arias involve high volumes energy and humor. I think reading about Cecilia and studying her performing style. Thanks to Youtube, I can watch her and study her acting and singing choices, which are often not obvious, meaning, she usually choses paths and avenues that some might not understand at first. When analyzing different performances of her singing, “Una Donna,” I noticed times when her singing became very soft in order to make an acting point or choice. It is simply inspiring to hear and see her perform, and I think that is why she is so acclaimed, celebrated, and loved.
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