Bartoli…sings everything with vivid personality. The accompaniments are well handled under Adam Fischer.

[Bartoli] has aimed not only to present Malibran's repertoire but also to capture her sound. Bartoli's rich voice, with its pyrotechnical capabilities and dramatic powers, couldn’t have been better suited to the task...More than just a history lesson though, this is wonderful music sung by a modern-day star.

At best, she has brought an individuality and sense of personal commitment to her singing, rare both in kind and degree. Voice and usage have always been fascinating, whatever their limitations. Enthusiasm, the awareness of a remarkable will–power and with it the recognition of an adventurous musical spirit in seeking out new material: all these have further distinguished her. And now she appears to have found a figure on whom she can hang all these gifts while exploring the repertoire that appeals to her most strongly.
Maria Malibran (1808-36) is now remembered for her death almost as much as for her life. In poor health, she sang in a duet which became so competitive that she determined to repeat it, thus vanquishing her rival, even if it killed her.
And it did; at least, she died (in Manchester, aged 28) nine days later. The concentration of a scorching will–power is strikingly caught in Bartoli's performances: in the cabaletta of the first item, from Pacini's Irene, for instance, the phrase 'mi squarcia il seno' is almost ferociously intense. Gaiety and charm were also at Malibran's command, as they are at Bartoli's in the Spanish song by the father, Manuel García, and in Maria's own Rataplan. The quality of her voice is variously reported (at times she was said to be practically voiceless), but there is no doubt about the magical effect of her singing upon her audiences. If it was anything like the spell Bartoli herself casts in the quiet rapture of her 'Casta diva' it must have been memorable indeed

This new recital is a brilliant summation of Cecilia Bartoli's art and the special contribution it makes.

Bartoli, who has spent the last twenty years submerged in earlier music, has a keen interest in the musicological performance practice ethic, and an astonishingly flexible voice, with both rich contralto notes and dancing top notes, might just be closer to Malibran (and therefore the sound that Rossini and Bellini had in mind) than anyone else since.