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SCARLATTI, A.: Euridice dall'Inferno / La Concettione della Beata Vergine (Ars Lyrica Houston)

Composer(s):Scarlatti, Alessandro
Artist(s) Ars Lyrica Houston, Ensemble • Dirst, Matthew, harpsichord
Period(s) Baroque (1600-1750)
Genre Classical Music
Category Choral - SacredInstrumentalVocal
Catalogue 8.570950
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


For its Naxos début Ars Lyrica presents première recordings of two of Alessandro Scarlatti’s vocal works: Euridice dall’Inferno and La concettione della Beata Vergine. The Houston-based early music ensemble has gained praise for its “zestful music-making” (Houston Chronicle). Its period instrument performances reveal the brilliance and depth of Scarlatti’s expressive and highly theatrical music, which is enjoying renewed interest as the composer becomes increasingly recognised as the peer of Baroque masters such as Handel and Vivaldi. Supplementing these are two equally accomplished instrumental pieces.


   




Review By John Terauds,Toronto Star,July 2009

There’s a pocket of period-performance excellence in Houston, Tex., but we don’t often get to hear it on disc. So all the better to get two world-premiere recordings, elegantly rendered, of the 13-minute cantata Euridice dall’Inferno, from 1699, and the 31-minute oratorio La concettione della Beata Vergine, first performed in 1703 by Italian Baroque master Alessandro Scarlatti (1660–1725). The disc is rounded out with a gorgeous cello sonata as well as an inventive Toccata for harpsichord. There is much to enjoy here.




Review By David Denton, Naxos,March 2009

After languishing in the shadow of his brilliant son, Domenico, the works of Alessandro Scarlatti are taking their place among the masterpieces of the Baroque era. He was to have a chequered life brought about by political changes, his early success, where he became the major Italian opera composer of his time, ended when a papal ban was placed on such staged performances. Using much the same style of music, he moved into the field of oratorio and cantatas where it is said he composed over six hundred scores. They mainly spoke of love and the trials and tribulations that so often surround it. Euridice dall’Inferno dates from 1699, by which time he had reached musical maturity and came before the opera ban. Scored for soprano and instrumental group, it

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