A Quote by 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.
Handel is the greatest composer that ever lived... I would uncover my head and kneel down on his tomb.
I listen to Handel's vocal music, almost exclusively.
Western music is Bach, Handel and Schubert. It's good music, cleverly done. As a musician, I can see that.
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.
The first choral music I remember hearing was Handel's 'Messiah' when the Mormon Tabernacle Choir broadcast it over the radio.
Handel, to him I bow the knee.
Handel is only fourth rate. He's not even interesting.
It was from Handel that I learned that style consists in force of assertion.
There is nothing more profane than the image of an atheist with tears in his eyes conducting the glory and passion of Handel's Messiah.
Karen Handel has run a 100 percent negative campaign.
Music has always been a part of my spiritual seeking, from the moment that Handel's 'Messiah' gave me the experience when I was so young, and music has meant so much to me since then.
Christmas brings us great music: Everything from Handel's 'Messiah' to 'White Christmas,' to 'I Saw Mommy Kissing Santa Claus.'
Handel understands effect better than any of us -- when he chooses, he strikes like a thunderbolt.
The real Brahms is nothing more than a sentimental voluptuary. rather tiresomely addicted to dressing himself up as Handel or Beethoven and making a prolonged and intolerable noise.
Every Englishman believes that Handel now occupies an important position in heaven. If so, le bon Dieu must feel toward him very much as Louis Treize felt toward Richelieu.
There's still a lot I need to do as a player, as a musician, as a sound creator. I have commissioned 170 pieces: that's still not enough, there are still lots and lots of composers I would like to approach. When I see a composer and I see a performer, I think to combine those forces.
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