Cecilia Bartoli was born in Rome on June 4, 1966. Her father was a member of the Rome Opera Chorus and her mother was a lyric soprano. Her father gave Bartoli a name that is very common among Italian girls. --Cecilia, this is also the name of the patron saint of music in Western theogony. Perhaps blessed by the goddess, Bartoli's career has been smooth sailing. Bartoli has been fond of music since she was a child. Her mother was her first teacher. And because she lived in an environment like the opera house, Bartoli has been immersed in music since she was a child. She said: "I am in a group. Growing up, I longed for audiences to come to my performances. They came because they really loved music and came here for the sake of the composer!" Her mother had very strict requirements for Bartoli. She understood her daughter's timbre and sound quality, and Bartoli's The talent is very high, the key is to guide it appropriately

In 1985, Bartoli participated in the "Genius" program organized by Rome TV, and made her first appearance singing with the famous soprano Ricciarelli. "Barcarolle" in "The Tales of Hoffmann", and also sang Rosina's aria in "The Barber of Seville". Bartoli's beautiful appearance and amazing vocal skills attracted people's attention. Celia shows her talents for the first time.

In 1986, Bartoli's singing was easy and free, and she was praised by the famous conductor Karajan in the audience. In his later years, Karajan tried his best to support his younger generations, so Bartoli was lucky enough to be invited to participate in the 1990 Sagrada Famous Conservatory of Music. Wurzburg Easter Festival. At that time, most of Bartoli's repertoire was Rossini's, and Karajan asked her to sing Bach's "Mass in B Minor". This was a major test for Bartoli, and Bartoli specially went to Salzburg to follow her. Karajan sang word for word. Karajan taught Bartoli to improve her musical accomplishment, and also knew that music should be interpreted with a clear and transparent tone. Unfortunately, Karajan died before officially conducting the "Mass in B Minor". Bartoli Leigh considers this her lifelong regret. In 1989, Bartoli made her debut singing Rosina in "The Barber of Seville" at the Rome Opera House, causing a sensation. People exclaimed that Rosina in Rossini's era had returned to the world. For a long time, Rosina has been played by many sopranos. Interpretation, even mezzo-soprano singing is performed in a higher range, but Bartoli has returned to her roots and restored the true charm of this coloratura mezzo-soprano role. Bartoli believes that coloratura arias are a way to express herself, But it's not just about showing off skills. When you integrate yourself into a certain role, that's when the art of singing is shocking. Even a light piece like "How Soft His Voice" still has to show Rosina's firm determination for love, and Not frivolous speculation. This success won Bartoli prestige, and opera houses in Hamburg, Zurich, Cologne and other places successively invited her to perform in operas.

In July 1990, Bartoli participated in the Mozart Festival in New York, where her Mozart role was widely recognized. Bartoli's artistic path began with concerts and record recordings. This is very different from many singers who became famous through competitions or singing operas. Bartoli's growth relied on the help of the media, making the world famous. I learned about her existence in the shortest possible time. Bartoli was very lucky. Christopher Rayburn, the music director and senior producer of Decca Records, recognized her talent and signed a long-term contract with Bartoli when she was unknown. Tori's first album "Rossini Aria" sold 200,000 copies and was on the "Billboard" classical music list, becoming a miracle in the release of classical music records at that time. Bartoli also became the first album to be recorded. A model of success. Since then, records of "Portrait of Mozart" and "Collection of Aria" have been released one after another, both of which have achieved ideal sales.

Barenboim once listened carefully to Bartoli's singing. He believed that Bartoli's timbre and performance were comparable to the great opera goddess Callas. In February 1992, Barenboim Tom invited Bartoli to sing Mozart's operas "The Marriage of Figaro" and "Così fan tutte" in Chicago. From the beginning, critics gave Bartoli a high praise for her role in Mozart's opera, a coloratura with brilliant skills. It is very rare for a mezzo-soprano to be able to sing every word of Mozart's works carefully.

In the same year, on the occasion of the bicentenary of Rossini's birth, Bartoli went to the United States to perform and held a successful solo concert. Soon after, she successfully played Despina in "Così fan tutte" in the Houston Opera's new season, winning critical acclaim. After that, Bartoli also held a solo concert at Carnegie Hall. So far, the American audience has fully recognized Bartoli's singing ability, especially her outstanding achievements in coloratura. Throughout the 20th century, there were not many mezzo-soprano talents who could sing coloratura. Most of them were lyrical or dramatic. For example, Balsa was the representative of the latter. However, Bartoli had incredible skills and vocal range. She Being able to sing Queen of the Night shows that she has a high vocal range. At the same time, she can sing highly dramatic roles and act well in comedies. The combination of these qualities made Bartoli a leader among mezzo-soprano talents at the end of the 20th century.

1992 was a brilliant year for Bartoli's career. She also won the Best Classical Artist of the Year Award from Time, American Music, and BBC Music Magazine. This was a tribute to her performance in the music industry. Recognition of achievements in the field of classical music.

In 1994, Bartoli followed up her victory and sang Rossini's opera "Cinderella" at the Zurich Opera House. This role is also one of Rossini's surprisingly difficult coloratura repertoires. However, Bartoli is already familiar with it. She plays the low range very well, which is also the weak link of most mezzo-sopranos. Her voice is very explosive. The sound is rich and the volume is large. Bartoli had a special liking for Baroque music. She openly admitted that she did not like modern music. She said that except for some songs by Berio, other modern music was the object of her rejection. After collaborating with Harnoncourt, Bartoli deeply accepted and agreed with Harnoncourt's views on Baroque music. She said: "I am now looking for Baroque repertoire, coming full circle from Rossini operas. I think that in the 21st century, people will be closer to Baroque music, and more people, especially young people, will want to listen to Baroque music. That's what I want to sing." This is true. In 2000, Bartoli held a solo concert in France called "Viva Vivaldi" and sang Vivaldi's opera works. We can see her vocal art. His level has improved faster, his personal style is more free and unrestrained, more romantic, his bass range is solid and stable, his coloratura skills are proficient, his transition notes are effortless, and his crescendo and diminutive changes are even more subtle.

Bartoli does not want to be influenced by commercial practices. In the past, almost all mezzo-sopranos would be asked to sing the role of Carmen. No one cared whether the singer's voice quality was suitable. "Carmen" seemed to have become the role of mezzo-soprano. Bartoli always refused to return to her home. She said: "What I do is to give people beautiful moments and happy moments. Heavenly Father gave me this instrument and asked me to perform as much as possible. When I walked into the opera house, I We want everyone to forget the dark side of the world and enter a new world."

Bartoli's parents are both vocalists, but it was only when she was sixteen that she decided to start seriously studying with her mother. Vocal music, and later entered the Academy of Santa Cicilia in Rome for further studies. At the age of nineteen, he began to be appreciated by many conductors and began a brilliant and colorful singing career.

At the age of nineteen, Bartoli was invited to appear on a TV show in Rome and became an instant hit. Muti saw the show and asked to hear her audition, and immediately expressed his desire to collaborate with her. . In the same year, she sang in a special program commemorating Callas on Paris TV. Barenboin immediately called her the next day and invited her to perform on the stage at the Bastille Opera House, and they even collaborated on the recording of "All Women". Later, Karajan invited her to Salzburg to audition, and immediately invited her to perform Bach's "Mass in B minor" after listening to it. After a certain practice, the master said to Bartoli: "You know? I feel so happy to live in this world because we can listen to such sounds that only exist in heaven.

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