ファリネッリ

メッゾ・ソプラノ歌手がバロックのスーパースター、ファリネッリの足跡を辿るアルバム

比類ない表現力でバロック音楽を生き生きと現代に蘇らせるチェチーリア・バルトリが、伝説のカストラート、ファリネッリの有名なアリアを新録音しました。ファリネッリの兄のリッカルド・ブロスキ、ファリネッリの師であるニコラ・ポルポラ、そしてハッセ、カルダーラ、ジャコメッリの作品を歌っています。ポルポラの『ポリフェーモ』、ブロスキの『メローペ』からの2曲が世界初録音。バルトリの変装姿もここまで来ると「見事!」以外に言葉が見つかりません。昨年12月にハードブック・タイプの初回限定盤が発売されましたが、今回通常ジュエルケース版も発売されることとなりました。
ユニバーサル・ミュージック/IMS

To get the most visible issue out of the way, it simply wont do to object to the cover graphics featuring a bearded Cecilia Bartoli in repertory as suffused with transgender issues as the music of the 18th century castrato. Not only did the castrati sing in female voice ranges, they often sang in female voice ranges in male roles. Marvel, if marvel one must, at Bartolis voice, still flexible and attractive in her mid-50s, and the voice is the key here. Farinelli (1705-1782), born Carlo Broschi, was one of the leading castrati of the 18th century: singers castrated before puberty who grew up with uniquely powerful, affecting voices. Its uncertain exactly what they sounded like (only one castrato, Alessandro Moreschi, survived to record in great old age), but its clear that neither a modern-day soprano or a countertenor quite duplicates the effect. Bartoli gives it an impressive try, though. Those enamored of her classic, creamy sound might be surprised by the paces she puts her voice through here, but the creaminess is not quite what it once was, and its good to hear her try something quite new. Bartoli tries to duplicate not only the repertory but also the sound of the castrati as she and we imagine it, with long, powerful runs: Farinelli was said to be able to sing 250 notes on a single breath, and if Bartoli doesnt manage quite that many, she adds an athletic aspect that works well in the more stirring pieces like Lontan dal solo e caro, from Porporas Polifemo. Some of these arias have been recorded before, but there are new pieces by such obscure composers as Geminiano Giacomelli and Riccardo Broschi (Farinellis brother), all nicely tailored to Bartolis voice just as they would have been in Farinellis own time. Bartoli gets excellent support from Il Giardino Armonico, under Giovanni Antonini, who provide just the right amount of oomph for her voice. Beard and all, Bartoli can clearly compete with the other singers who have essayed this repertory.