Studying Cecilia Bartoli's sound recordings as a pedagogical method in vocal class using Vivaldi's aria "Sposa son disprezzata" as an example

the article examines the pedagogical value of the professional recording of the aria “Sposa son disprezzata” performed by Cecilia Bartoli. It analyzes how elements such as breathing, dynamics, phrasing, and ornamentation can be applied in vocal training. A step-by-step method is proposed for integrating recordings into the vocal learning process, with the goal of developing students' interpretative skills and artistic thinking. Modern vocal education requires not only technical training but also the development of artistic thinking and stylistic interpretation. One effective method is the use of professional recordings. When applied within a well-structured pedagogical strategy, they become a valuable tool for analysis and conscious performance. Recordings allow students to study the nuances of breathing, diction, and phrasing, which is particularly important when working with Baroque repertoire. The aim of this article is to identify the pedagogical value of the aria “Sposa son disprezzata” as performed by Cecilia Bartoli and to propose ways of integrating it into vocal training practice. The primary research material used in this study is the professional recording of the aria “Sposa son disprezzata” performed by Cecilia Bartoli, released in 1992 as part of the album Se tu m’ami. This interpretation is considered in a pedagogical context as an exemplary model of Baroque vocal artistry. Additional materials include qualification papers devoted to the comparative analysis of various interpretations of this aria (including that of Sumi Jo and other singers), as well as scholarly articles and methodological guides addressing the use of recordings in vocal training. The analysis of the interpretation of the aria “Sposa son disprezzata” performed by Cecilia Bartoli revealed several elements of high pedagogical value: conscious phrasing, flexible use of dynamics, expressive diction, and stylistically accurate ornamentation. It was found that the systematic use of professional recordings in vocal training contributes to the development of students’ interpretative thinking, aural sensitivity, and stylistic analysis skills. The use of professional vocal recordings, such as Cecilia Bartoli’s performance, demonstrates high effectiveness in developing students’ interpretative thinking. The analysis showed that targeted work with phrasing, breathing, dynamics, and ornamentation contributes to the formation of students’ artistic taste, critical perception, and stylistic intuition. The proposed method of integrating recordings into the educational process allows for the unification of the technical and artistic aspects of vocal training. Thus, recordings become not only an object of analysis but also an active tool for cultivating interpretative independence in future vocalists.

classical singing, audio recording, Cecilia Bartoli, vocal training, Baroque interpretation, pedagogical method