Alessandro Scarlatti - Cantatas Vol.2

Alessandro Scarlatti (1660-1725)

Cantatas Vol.2

Arcadian Academy 

David Daniels (countertenor)

Nicholas McGegan (Conductor)

Here we have only the second volume of what is projected to be a complete cycle of Alessandro Scarlatti cantatas, and the excitement is beginning to wear off. Like any number of ultra-prolific composers, he had great days and merely professional ones. This program has a fair number of the latter. At best, the key to Scarlatti isn't the melodic freshness or harmonic novelty one associates with his son, Domenico, but the subtle counterpoint heard in the opening of the "Infirmata, vulnerata" cantata. Beyond repertoire matters, this disc has considerable appeal due to the presence of countertenor David Daniels. His robust, flexible, expressive voice is setting new standards for his entire vocal category. Daniels's response to this material isn't quite as seasoned as that of other early-music specialists, perhaps because it only occasionally taps his innate theatricality. Still, there are remarkable feats of word coloring from this remarkable instrument--a sort of male Marilyn Horne--that promises years of rewarding vocalism. --David Patrick Stearns

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Back in early 1998, music director Nicholas McGegan had the foresight to select the prodigiously talented countertenor David Daniels to be his vocal soloist for this program; the second in a series of four discs devoted to the works of composer Alessandro Scarlatti (1660-1725). Scarlatti was quite prolific in his career writing over 60 operas, and selections from six of those operas are presented here. Although his music does not reach the musical heights of Handel, Scarlatti's work is certainly varied enough to provide the perfect showcase for Daniels' amazing voice. Accompanied by the Arcadian Academy, he is in full bloom here alternating between tender and passionate. As usual, his Italian is impeccable as he enunciates every word with great flair, and he never gets carried away with the more elaborate passages. Dramatically he is in peak form, and it is unlikely just a coincidence that like the accomplished "Masque of Alfred" cast recording released in 2000, this disc shares the talents of Daniels, McGegan and several members of the Philharmonia Baroque Orchestra.

The most complete piece of this recording is the third, "Perché tacete, regolati concenti?", which seems like a mini-Venetian opera over its 19-minute running time. It contains the most musical diversity with instrumental passages that reflect effectively the different moods of the piece. The remaining pieces revolve around various quandaries about love, and the variety of tones and harmonic progessions is quite impressive. My personal favorite is the second piece, "Il genio di Mitilde", which uses strings in an almost athletic fashion to reflect the various whims of a young woman's capricious changes of heart. The final piece, "Infirmata, vulnerata", opens with the melancholy Largo aria, where Daniels is accompanied beautifully by two interweaving violins, and finishes with the dramatically propulsive Allegro. This disc is a perfect addition to any Baroque music collection and a must-have for any fan of David Daniels.