It's a dream come true, and with this music, with this Rossini, it's unbelievable how to express the joy and express the joy of the situation and the joy to play this music, to sing this music, it's really fantastic. (Cecilia Bartoli)
Well, what I tried to do is to just listen to my voice, because my voice is my boss. She decides. (Cecilia Bartoli)
I was surprised to learn that Gluck spent some months in Prague at the time when we know operas by Vivaldi were being performed there. (Cecilia Bartoli)
When you are accompanied by the instrument - on an instrument like the lute-the lute and voice - you have this sound, and you feel how the music can be so touching and yet so simple. (Cecilia Bartoli)
I went to the Conservatory of Music in school in Rome. (Cecilia Bartoli)
It's like when you want to make a house... the technique is very important. (Cecilia Bartoli)
When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice. (Cecilia Bartoli)
I would still love to do more Handel. I think Handel was a fantastic composer. I did lots of Vivaldi, but it's also important to do the music of Handel, one of the greatest composers of the 18th century. (Cecilia Bartoli)
It's nice to have a great female composer in the program and add her color. (Cecilia Bartoli)
The moment you know how to walk-let's see, because this is like walking-then you can do whatever you want with your voice. (Cecilia Bartoli)
The beginning of the 19th century in Germany and Vienna was a new era with German composers writing in the German language. (Cecilia Bartoli)
Well, I don't think a specific role can destroy your voice. What can destroy your voice is when you... make an error. Everybody can make an error. But then you need to realize what is your way. (Cecilia Bartoli)