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( from google)
上周二（ 24/10/2009 ）晚， 在伦敦巴比肯音乐厅，世界著名女中音Cecilia Bartoli 给伦敦的歌迷们演唱了她的最新专辑《 Sacrificium 祭献》里的一些曲目。我非常荣幸能去她的音乐会，这次还坐在舞台上， 当了 2 个多小时的观众背景《演员》。
Cecilia Bartoli 近年来潜心挖掘和演唱意大利巴罗克时期的一些当年被禁唱和被遗忘的歌剧， 她曾出过一专辑是《被禁唱的歌剧》， 今年 10 月 2 日全球发行了她的最新专辑《 Sacrificium - La scuola dei castrati 》， 还特别推出豪华限量版，配有很厚的一本小书介绍， 是喜欢意大利歌剧歌迷的好收藏。专辑中展现了从 17 世纪到 18 世纪中叶的意大利，万千男孩为音乐之美而献身的美丽和残酷，阉伶 Castrati 华丽凄美的世界。 以前西洋古歌剧里是没有女演员的，因此需要男扮女装，男发女声，男童可以发出女中、高音称为童声女高音 Boy soprano(treble) ，古时为了保持这种发音能力，在男童变声期前（8岁以前），对男童演员实行阉割，由此产生一种特殊的演员类别，称之为阉伶 castrati ，这就是西西莉娅提及的在 18 世纪中叶达到鼎盛时期时，仅在意大利，平均每年有超过 4,000 人以音乐的名义进行阉割手术，这也就是专辑名称的由来。 大家都期待能亲自聆听她的演唱，所以音乐会票很紧张，很多 Cecilia 的忠实歌迷也从世界各地飞来， 票早就脱销，大概在演出前的 2 个星期，巴比肯音乐厅又加卖一些舞台上的临时座位，也一售而空，据说巴比肯音乐大厅一般是不这样做的，只有当一些非常著名，呼声很高囊衾旨依幢硌菔保呕崃偈奔拥淖弧Ｕ獯挝业鹊搅艘徽磐似保羝笔北桓嬷洞夏愕?ID 证件入场》， 之后也陆续出来了些其他退票而且位子很好，我想算了，再好的位子我也不换了，这次我就在舞台上《陪》 Cecilia 和著名的意大利室内乐团和谐花园(Il Giardino Armonico)乐队演出吧， 这也许是上天的意思，安排我坐在他们旁边近距离观看体会， 得票后我也找了些 Cecilia 和著名的意大利室内乐团和谐花园(Il Giardino Armonico)乐队的资料学习了解，做了一点功课。 说起来这也不是我第一次现场听Cecilia Bartoli 的演唱了，最早还要追溯到多年前在巴黎世界青年日（WYD - World Youth Day) 聚会，当时 Vatican 梵蒂冈教皇 让-保罗二世Jean Paul II 也来了，当时教皇的身体很虚弱，教皇还带来了两位意大利的歌剧歌唱家： Cecilia Bartoli 和 Andrea Bocelli ，在巴黎西郊的 Hippodrome de longchamp , 巴黎的一个赛马场集会演出祈祷。 也是在那我看到了坐在玻璃防弹车里的教皇让-保罗二世，也第一次听Cecilia Bartoli 的歌唱，当时 Cecilia Bartoli 唱几首, 其中一首是莫扎特的Alleluja 。 话又回到伦敦音乐会：周二那天天气很不好， 刮风下雨很厉害，我大概提前 10 分钟到 Barbican ， 一看舞台上台下都差不多坐满了观众，我有点着急，在门口我跟那位门卫说，我的伞放哪啊？那位黑人小伙说，那你去寄存吧，一看时间不多，我说可以就放你这了，我要去找位子了，他很好说话，好吧，待会儿你要记住来去啊。我很喜欢伦敦巴比肯音乐厅，音乐厅大小适中，工作人员很耐斯，也很慷慨，每次都给每位观众免费发一本关于演出节目的详细介绍。 第一次走上舞台当观众，看看台下，好多人啊，一位工作人员带我走去舞台上的左侧临时位子的第一排， 我还挺高兴，怎么还有第一排的位子在等我呢，可以坐下来就发现，我的前面就是一架大的仿古钢琴，挡住了不少视野，在旁边是一台管风琴，演出也快开始了，那就多欣赏古钢琴吧，还好，前不久自己还作了几个贴，关于 Cecilia Bartoli 和意大利和谐花园乐队的，知道和谐花园乐队被认为是世界上演奏巴洛克时代音乐最具创意，最好的乐队之一， 就坐在这支著名的乐队的古钢琴旁边听个够。 Cecilia Bartoli 的嗓音是很特别，她的歌声热情，浑厚，深情，色彩很丰富，花腔繁复华美颇具表现力，戏剧性，花腔由高到低，由低到高，游刃自如，毫不费力，独一无二，被誉为《 灵动皇后》，听到她的演唱是一种享受。Cecilia Bartoli 诠释莫扎特、罗西尼的音乐独具特色，她也是目前世界上巴洛克时代音乐最佳的演绎者之一。
一开始乐队奏了两曲后，观众席上开始欢呼，掌声雷动， Cecilia Bartoli 出场了，她身穿如照片上那样的燕尾服带着礼帽走到台中间，然后把礼帽往一边一扔，全场一片喝彩声和掌声就开始了她的第一首曲子， Nicolò Porpora Sinfonia from “Meride e Selinunte” Allegro ， 她的新专辑里有不少 Nicolò Porpora 的歌， 据介绍， Nicolò Porpora (17 August 1686 – 3 March 1768)是意大利巴洛克时期歌剧作曲家, 他的学校在拿不勒斯一带，Nicolò Porpora 也是当时培养阉伶最著名的老师和作曲家之一， 很多著名的阉伶都出自他学校，他创作了一种练声法，男童们至少要练5年以上。
当时在欧洲，法国是反对对男童演员实行阉割， 而在意大利，特别是在拿不勒斯很穷，很多家庭都希望孩子可以过上好日子而把他们送去阉割， 望他们成名，在阉割的男童里成名的究竟是少数，大多数人的出路都很惨。 据资料上说，仅在拿不勒斯就有四所孤儿院，后来都全变成学声乐的学校，
Nicolò Porpora 最著名的学生叫Farinelli ，戏名是 Carlo Maria Broschi, 是意大利18世纪最有名的阉伶之一， 当年（1730s) 在伦敦的演出收入本来是1500英磅，最后获得众多名留贵族的欣赏捐赠，获高达5000英镑得演出费，Farinelli 的哥哥Antonio Caldara 也为他弟弟Farinelli 作曲，资料上说当年的著名的Farinelli ， 在舞台上的歌声动人到让观众们都不能自我，都不能呼吸， 他能在高音一个note 上都持续好几分钟。 在 Cecilia Bartoli 演出的节目里曾两次唱了一位叫leonardo vinci的歌曲，而不是leonardo Da vinci, 据评论说不是我们大家熟知的《达芬奇密码》的达芬奇，leonardo vinci的歌都很欢快。亨德尔有一些曲子也是为阉伶所作，如他的 《Serse Ombra Mai fu 绿树成荫》
特别要提一句的是， 这次音乐会 Cecilia Bartoli 演唱的很多歌曲，自１８世纪演唱过后就再也没人演唱，直到几百年后的２１世纪，被一位叫 Cecilia Bartoli 的意大利女中音重新拾唱，歌曲重见光明。 当然Cecilia Bartoli 不是当年的Farinelli ，不可能完全再现这些歌曲当年风采，但至少Cecilia Bartoli 让世人知道了这一段歌剧历史，音乐界有的评论很挑剔，说她避开经典歌剧曲目，唱一些偏门歌剧，想避免与其他歌剧歌唱家的比较，《挑剔》那是音乐职业评论家们的本钱， 而我作为乐迷，我觉得已经从她的歌声中得倒了极大的享受和收获。
意大利和谐花园乐队的演奏也是很出色，柔和， 营造出18世纪时期的音乐气氛，我还特别注意他们的乐器，其中几位笛子演奏家的笛子有的很短，有的还很像中国的笛子，但看起来是木质的，另外那位拉低音大提琴的，和Cecilia 一样辛苦，整个音乐会就没见过他坐过， 除了中间休息。 那晚原定曲目一共７＋５首（＋＝ｉｎｔｅｒｖａｌ），每演唱２－４首曲子， Cecilia Bartoli 就会休息一会儿，乐队会演奏一些巴罗克时代的曲子， Cecilia Bartoli 每次再回来，都会让大家眼睛一亮，换裙子了，而且一件比一件漂亮，戏剧性，把晚会推向高潮。可惜那晚坐在台上，不好多照相，好在下半场有机会我坐到更靠前台，视野好了很多。
To My Chinese Friends in YYKD - Cecilia Bartoli
我大概是排在队伍的中部，等她帮我签完名后， 时间已经是11:45PM， 她还是那么耐心，她看看排队的乐迷 然后说《It's moving on》， 我前面那位女孩说，今晚签名活动肯定要半夜1点才能结束。 我们几位乐迷一起走去地铁，大家议论的话题还是Cecilia和她的歌， 临别时我们没留地址什么的，因为大家知道彼此都是Cecilia 的乐迷， 说不定下次音乐会还会见面，相聚音乐会！
Cecilia Bartoli 不仅是一位优秀歌剧演唱家，难得的艺术家，更是一位热情，善良， 大气的女人， 非常喜欢她和她歌声！Ciao Cecilia !
当晚的演出节目单： Il Giardino Armonico
Cecilia Bartoli mezzo-soprano
‘ Sacrificium - La scuola dei castrati’ Nicolò Porpora Sinfonia from “Meride e Selinunte” Allegro
Nicolò Porpora "Come nave" aria of Siface from "Siface"
Antonio Caldara “Profezie, di me diceste” aria of Sedecia from “Sedecia”
Nicolò Porpora “In braccio a mille furie” aria of Mirteo from “Semiramide riconosciuta”
Nicolò Porpora Ouverture from “Germanico in Germania” [Allegro] – Adagio – [Allegro]
Nicolò Porpora “Parto, ti lascio o cara” aria of Arminio from “Germanico in Germania”
Francesco Maria Veracini Ouverture No. 6 g minor Allegro
Leonardo Vinci “Cervo in bosco” aria of Climaco from “Medo”
Leonardo Leo “Qual farfalla”, aria of Decio from “Zenobia in Palmira”
Francesco Araia “Cadrò, ma qual si mira”, aria of Demetrio from “Berenice”
Nicolò Porpora "Usignolo sventurato", aria of Siface from "Siface"
Carl Heinrich Graun "Misero pargoletto", aria of Timante from "Demofoonte"
Francesco Durante Concerto per archi No. 2 g-minor Allegro affettuoso
Antonio Caldara “Quel buon pastor”, aria of Abel from the “componimento sacro” "La morte d’Abel"
Nicolò Porpora Ouvertures from Cantatas “Gedeone” and “Perdono, amata Nice” Adagio – Spiritoso andante – Allegro
Leonardo Vinci “Quanto invidio la sorte… Chi vive amante” Recitative and aria of Erissena from “Alessandro nelle Indie”
Nicolò Porpora "Nobil onda" aria of Adelaide from " Adelaide "
我就坐在这架仿古钢琴旁，声音很轻柔好听，跟乐队在一起齐奏是不怎么听得到它的声音。
管风琴？
我前面的一位歌剧谜，和Cecilia交谈甚欢
PS :
Review1 : BBC Music Magazine :
As the title suggests, Cecilia’s new discovery project revolves around the most famous castratos in the first half of the 18th century and the highly virtuosic and deeply emotional music that was written for those singers.
At the core of this project stand the city of Naples and the school of Nicolò Porpora (1786-1868). Some of the most famous castratos of all times, Farinelli and Caffarelli were amongst Porpora’s students.
Most of the works in the program have not been performed since the 18th century. Amongst others, there will be works by Porpora, Caldara, Giacomelli, R. Broschi, Leo, Araia a nd Graun .
Cecilia Bartoli is one of the classical music world's great stars, her fabulous voice and energetic devotion to her art earning her a loyal worldwide following, CD sales of over 6 million and many of classical music's most prestigious awards.
Those legions of fans, it must be said, have impeccable taste. This Italian mezzo soprano's beauty of tone and seemingly effortless precision in the most technically demanding of passages continue to amaze and invigorate opera lovers. Her repertoire choices and often innovative projects are all stamped with the Bartoli mark of individuality and excellence. To recent projects – a disc of music composed during 18th century Rome 's prohibition of opera, and an exploration of the musical world of legendary 19th century singer Maria Malibran – Bartoli last year added a wonderfully observed and ravishingly sung recording of Bellini's bel canto masterpiece La sonnambula.
‘Cecilia Bartoli stands apart from other classical artists with her talent for unearthing and breathing new life into long-forgotten music.’
Review2
Complaints recently lobbed at Renée Fleming and Angela Gheorghiu over shortchanging their concert audiences could not be levelled at Cecilia Bartoli. At the Barbican, like Judy Garland at Carnegie Hall, the Italian prima donna sang her heart out and could have gone on all night. Whether a less reckless expenditure of vocal energy might have yielded greater artistic returns is a moot point. Bartoli was performing arias associated with the legendary 18th-century castrati, and her natural showmanship was in evidence from the moment she appeared in Dick Turpin get-out, with thigh-length boots, a scarlet-lined cape and a tricorne flamboyantly tossed aside as she took to the platform. Cecilia is a true star. It is impossible to resist her bravado, and the audience duly went wild. But this was one of those occasions when her vices jostled with her virtues, and even her most ardent fans must have felt that the more virtuosic numbers did her no favours, pushing her way beyond the canons of bel canto. In Porpora's Come nave and Nobil onda, for example, too much forced, threadbare tone marred the passages of coloratura, articulated in Woody Woodpecker style. Some squally high notes were sharply pitched, and others were squeezed rather than floated. This was kamikaze singing, and its over-assertiveness became very wearisome. There were sunbursts. The moment the pressure comes off the voice and the pace slows, Bartoli still blossoms as a supreme musician, finely tuned in style, sure in breath control, firm in legato, and imaginative in her relish of the text. In Broschi's Chi non sente and Caldara's Quel buon pastor, she was the embodiment of baroque melancholy, and her delicious sense of fun came to the fore in Leo's Qual farfalla and Vinci's Chi vivi amante. Yet there wasn't really enough good music to sustain a concert that lasted over two and a half hours, padded out with perky overtures and sinfonias played by Il Giardino Armonico. Heard in bulk, the clichés of this period of music are all too evident, and I couldn't stop my mind wandering to an announcement in the programme that next June Bartoli will confront the challenge of Bellini's Norma. Now that I would like to hear. （ Cecilia Bartoli at the Barbican, review http://www.telegraph.co.uk/culture/music/opera/6660250/Cecilia-Bartoli-at-the-Barbican-review.html ）
Review3 写得很挑剔 A Cecilia Bartoli concert is a package deal. You get a big personality, an extrovert show, a still-remarkable voice, and a lot of technically difficult vocal music on the margins of the repertoire from her latest CD. Plenty of people have had it with the Bartoli phenomenon. But a lot of others can't get enough. She packs a hall and they adore her. Bartoli made a great entrance dressed like a pantomime principal boy. But this offering was not for the squeamish, especially if you buy the extravagantly illustrated CD. It's a celebration, if that is the word, of arias written for 18th-century baroque castratos, mainly by the Neapolitan composer and teacher Nicola Porpora, whose many pupils included the famous Farinelli. Most of the pieces chosen by Bartoli were either dazzlingly fast, enabling her to show off her coloratura, or spun out in the minor key, showcasing her often ravishing, but thinning, legato. Occasionally there was a novelty, like Porpora's nightingale aria from his opera Siface, complete with bird song accompaniment, and, more interestingly, a harmonically imaginative aria by the German composer Carl Heinrich Graun. In the end, though, most of these pieces merged into one another. And since Bartoli is anything but a castrato, the insights into the vocal art of this brutal tradition were necessarily limited. One spent a lot of the evening longing for some Handel, which only arrived in the encores. The issue with Bartoli comes down to a clash between two things. On the one hand, she remains a brilliant vocal technician with an unusually rich if small mezzo soprano. On the other, in her later career she increasingly avoids singing anything of great musical significance, or anything in which she can be compared with others. She is a special and disturbingly evasive artist. （http://www.guardian.co.uk/music/2009/nov/25/cecilia-bartoli-review） | 
