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Sacred Oratorios - Released May 29, 2020 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
Alessandro Scarlatti’s oratorio is an exciting drama of life, love and death, set in the fourth-century Roman Empire. Preferring to devote her life to God, Teodosia rejects the love of Arsenio, the son of the Roman governor, and welcomes death. St Theodosia of Tyre died at the age of eighteen, in the year 308. One cannot help but be struck by the dramatic strength and the vocal beauty of this work, performed here by a very talented casting, gathering Emmanuelle de Negri, Emiliano Gonzalez Toro, Anthea Pichanick, Renato Dolcini and the fiery orchestra Les Accents led by Thibault Noally. © Aparté
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Sacred Vocal Music - Released September 2, 2016 | Arcana

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
This recording is a discovery of Alessandro Scarlatti’s heretofore unknown sacred music, where Renaissance tradition meets Baroque sensibility for a unique and compelling recording. At the core of Odhecaton’s latest offering is the Missa defunctorum for four voices and basso continuo. It is in this magnificent score – recorded for the first time using the critical edition of Luca Della Libera – that primarily contrapuntal writing gives way to Scarlatti’s stylistic choices of great expressivity and rhetorical force, such as in the case of the astonishing Lacrimosa. The Miserere is also recorded for the first time. Written for nine voices for the Sistine Chapel, the score follows Allegri’s model only outwardly; Scarlatti, in fact, moves steadily away from it through his harmonic originality, formal richness, and expressivity. The Magnificat displays a unique synthesis of the Palestrinian model and the expressive language of the eighteenth century. In this score, Scarlatti exploits the great wealth and variety of the Marian text, particularly in the relationship between words and the emotional and descriptive spheres.
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Classical - Released March 15, 2019 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason
In a new recording of music by Alessandro Scarlatti, Josetxu Obregón’s La Ritirata parades its dazzling vocal and instrumental talents in presenting the four cantatas which involve recorders and violins, together with an additional standalone soprano aria, for a further Glossa Neapolitan-flavoured release. Drawn from his well over 800 secular cantatas these works combine fully-integrated, imaginative recitatives, expressive and dramatic arias and colourful and exacting instrumental sinfonias and ritornelli into elegant and compact wholes, and featuring poetic texts which typically followed the aspirations of the Accademia degli Arcadi literary circle initiated in Rome around the turn of the eighteenth century. The scene for Scarlatti’s prolific creativity is set by Stefano Russomanno in his booklet essay. The vocal duties are assigned to three leading interpreters of today, mezzo Giuseppina Bridelli, countertenor Filippo Mineccia and soprano Alicia Amo. Rising here to the instrumental challenges set by Scarlatti are long-standing members of La Ritirata, Tamar Lalo (recorder) and Hiro Kurosaki (violin), who are joined on their respective instruments by Michael Form and Pablo Prieto. With cellist Obregón, Lalo and Kurosaki had been the leading soloists for La Ritirata’s recent “Neapolitan Concertos for various instruments“ release. © Glossa
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Sacred Oratorios - Released January 18, 2019 | Paraty

Hi-Res Booklet Distinctions 5 de Diapason
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Masses, Passions, Requiems - Released March 24, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released April 8, 2016 | Philharmonia Baroque Productions

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Cantatas (secular) - Released November 2, 2018 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Given that he wrote about 115 operas (of which at least 70 have survived to this day), 800 cantatas of all kinds, shedloads of symphonies and serenades, and dozens of the most varied kinds of liturgical works, Alessandro Scarlatti remains under-played today. The album concentrates on a few of these innumerable cantatas which are almost all preserved in their original manuscript form and quite a few of which belong to the Arcadian genre. This is to say that they deal with the bucolic mythology of nymphs and shepherds from Arcadia (in the Peloponnese in Greece) developed during the Renaissance. Love, betrayal and reunions are all displayed here, some in solo cantatas – soprano or baritone – and other cantatas in dialogue for two voices. Some have nothing but a continuo for an accompaniment, others have two violins with continuo. Everything seems to indicate that at the time of writing these pieces were meant to entertain nobles in their palaces, especially during the many periods of the year when the Church forbade public performances. Without a doubt these pieces were played once or twice and then forgotten... And here they are, rescued from oblivion by the soprano Deborah Cachet and the baritone Nicolas Achten, who, as well as singing, conducts his ensemble Scherzi Musicali and plays the theorbo, the triple harp and the organ. © SM/Qobuz
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Classical - Released January 1, 2000 | naïve classique

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Classical - Released March 25, 2010 | Arcana

Booklet
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Classical - Released July 19, 2019 | harmonia mundi

Booklet
There was a lot of buzz surrounding this version of Alessandro’s Scarlatti’s Griselda when it was first released in 2002 and soon after, a barrage of articles were published across the world singing its praises. It was considered a momentous occasion in the world of opera. It is a dramatic and wonderful piece and René Jacobs’ lively rendition of Scarlatti’s score in January 2000 at the Berlin State Opera is a real success. Dorothea Röschmann is also the ideal performer for the lead role, conveying the emotion and meaning behind every word marvellously and giving her character a genuine and individual personality that was not often conveyed in operas at that time. The rest of the cast, including Bernarda Fink, Veronica Cangemi and Lawrence Zazzo, are equally of high calibre.It’s also worth mentioning that the libretto (set to music by other composers, such as Vivaldi) is by Apostolo Zeno and (for once) acknowledges the defeat of men. “Griselda is not degraded but transformed by the humiliations inflicted upon her. A champion of selflessness, she doesn’t arouse pity so much as admiration. She is a moving but superhuman character, a heroine in the original sense of the word, in search of the absolute, a fabulous but also overwhelming role”. (Bernard Schreuders).The Akademie für Alte Musik Berlin orchestra in Berlin is magnificent here and takes on board even the most minute details of the composer’s theatrical intent with absolute mastery. Scarlatti’s score is full of instrumental richness and the innovative René Jacobs has developed this even further with his own alterations. We certainly have no complaints. © François Hudry/Qobuz
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Classical - Released November 7, 2006 | Arts Productions Ltd

Distinctions 4 étoiles Classica - Exceptional Sound Recording
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Classical - Released October 1, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released June 7, 2011 | Arts Productions Ltd.

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Classical - Released October 13, 2009 | Ambronay Éditions

The biblical story of the princess Judith, who seduces and then beheads the invading Assyrian general Holofernes, has attracted composers from the early days of opera almost down to the present day with its mixture of gore, patriotic self-sacrifice, and latent feminist themes. (Go here to get in the mood: http://en.wikipedia.org/wiki/Image:Judith_Beheading_Holofernes_by_Caravaggio.jpg.) This 1693 setting of the story by Alessandro Scarlatti was designated an oratorio, with the result that it became even less familiar to general audiences than the operas of the late seventeenth century. But on disc it is really an opera in all but name. There is no chorus commenting somberly on the action, just five characters enmeshed in a tense, sexy, and rapidly developing story that's told mostly in arias, not lengthy stretches of recitative that set up the action. Scarlatti's arias lie between the freely structured music of the classic Italian oratorio and the formally fixed, ornate da capo form that flourished through much of the eighteenth century; they are beautifully balanced between technique and the emotions of the characters, inspiring English music writer Edward Dent to call Scarlatti Mozart's spiritual ancestor. For examples in the present work, sample track 6, "Mà sò ben qual chiudo in petto di Vittoria alto disegno" (I feel in my heart that a great victory is due), in which Judith decides on her plan, or skip directly to the smoldering climactic scene (tracks 16 and 17). Le Parlement de Musique, a historical instrument ensemble from Strasbourg, and its conductor Martin Gester basically stay out of the music's way with smooth performances that give the emotional elements their due without overemphasizing them. Countertenor Martín Oro excels in the role of Holofernes, and the recording in an Alsatian abbey evokes the spaces of the Roman palace where the work was first performed for a group of nobles. This more than a well-executed recording aimed at Baroque enthusiasts; La Giuditta is a taut drama that any lover of opera should hear. © TiVo
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Classical - Released January 1, 1992 | naïve classique

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Classical - Released May 3, 2011 | Glossa

Booklet
The Serenata, a brief occasional entertainment that flourished in Italy in the early 18th century, was like a short opera but performed in concert form. Alessandro Scarlatti composed these two Serenate, each lasting about half an hour, to be performed on summer evenings in 1706. Both have gentle, Arcadian themes of the pain of young love and are serenely elegiac in tone. Scarlatti's music doesn't stray far from the more conservative conventions of his time, but it is exceptionally graceful and notable for its lyrical vocal writing, and his settings skillfully heighten the emotions of the texts. Each serenata is scored for two sopranos and alto (sung here by a counter tenor) with chamber ensemble and continuo. The arias are suavely elegant but generally the lovely vocal ensembles, such as "Deh! Fugate," and "Svegliati o bella," from Serenata à Filli and "Dormi o bello," from Le muse Urania e Clio Lodano le belleze di Filli, are among the musical highlights of the album. The exquisite aria "Ombre voi," for soprano, a haunting passacaglia, also stands out for the felicity of its invention and its evocative, mysterious mood. The performances by conductor and harpsichordist Fabio Bonizzoni and the chamber orchestra La Risonanza, are refined and delicate and at the same time full of spirited energy. Sopranos Emanuela Galli and Yetzabel Arias Fernández and alto Martín Oro sing with purity and finely focused tone, as well as plenty of expressiveness. These are virtuoso performances whose impressiveness grows as the works progress dramatically. Glossa's sound is immaculate and natural. Scarlatti's serenate are little gems that should delight fans of Baroque vocal music from off the beaten track, particularly in performances as fine as these. © TiVo
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Classical - Released March 20, 2020 | deutsche harmonia mundi

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Classical - Released November 25, 2005 | Warner Classics

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Classical - Released October 1, 1998 | harmonia mundi

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Classical - Released January 1, 2010 | Decca Music Group Ltd.