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29/09/2004 Cecilia Bartoli's Salieri gig
Hands up all those who can whistle any tune by Salieri. No, thought not. Neither can I. Known only for Murray Abrahams' portrayal in Amadeus, Salieri's music, once very highly regarded, is little heard today. So, for a world-class vocalist like Cecilia Bartoli to unearth some highlights for a dedicated recording is a high risk venture. Her missionary zeal had already led her to do the same with Vivaldi, Gluck and a coterie of other early composers I'd never heard of. All credit to the artist. She could make far more money recording endless selections of Mozart, Rossini and Verdi, but chooses, instead, to enrich the mix with virtually unknown work. Her triumphant Salieri gig last weekend at London's Barbican demonstrated that her audience shares her vision. Few will have heard any of the arias performed, outside her recent album, but the reception was, nevertheless, ecstatic. Suppported by an effervescent Freiburg Baroque Orchestra, Ms Bartoli performed a dozen arias, including several encores of music by other composers. Her mezzo soprano voice isn't the biggest on the circuit, but it filled the Barbican Hall easily. Her power, range, subtlety and delicacy confirmed her status as one of the world's leading female voices. Even her penchant for showy coloratura trills couldn't disguise the fact that, vocally, it just doesn't get any better than this. Voice aside, Bartoli has a commanding stage presence. The body language - swaying to the rhythm, throwing the shoulders back, guying a smile or a frown - communicates total commitment. An arched eyebrow - at fifty metres - can change the mood of a song, dramatically. Every minute she's on stage, she's seriously into the music. Bartoli's Salieri recital: an utter delight. It's still touring Europe: try to catch it. The Bartoli show was part of the Barbican's Great Performers series. They're not kidding.
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