Alessandro Scarlatti was undoubtedly the greatest composer of vocal music in Italy in the 17th and 18th centuries. However, despite his grandeur being recognized by historians, it s only recently that his music can be heard and appreciated in concerts. The serenata could be considered the form that lies between opera and cantata, a kind of mini-opera with the usual alternation between arias and recitatives but without the effects of staging. A characteristic of the beautiful and rare serenata recorded here is the presence of a general dancing nature of many of the arias along with real instrumental dances that, towards the end, intertwine with the arias.

Monteverdi's great opera is a celebration of unwavering devotion, conveyed in some of the composers most poignant, heart-breaking music. After two brutal decades of war, the weary Ulysses is washed up on the rocky shore of his home island of Ithaca. There, he discovers the hordes of depraved admirers who have beseiged his faithful wife Penelope in his 20-year absence and launches into battle to win back her love. Monteverdi's opera is a celebration of unwavering devotion, conveyed in some of the composers most poignant, heartbreaking music. Sir John Eliot Gardiner leads an exemplary cast of world-class singers alongside the Monteverdi Choir and English Baroque Soloists in this live recording from The National Forum of Music in Wrocaw, Poland part of their critically acclaimed Monteverdi 450 tour in 2017.

Ausdrucksstarke und spannungsgeladene deutsche Passion und eine tolle und auch preiswerte Alternative zu den bekannten Bach-Werken. Von den zwanzig überlieferten Telemann-Passionen ist keine wie die andere, was diesen Komponisten immer wieder hörenswert macht. Anders als sonst üblich wird dieses Werk bestimmt von dem stetigen Wechsel zwischen Rezitativ und Chor; auf Arien wird weitgehend verzichtet, was das Hören kurzweilig macht. Die Arien sind spannungsgeladen, fast weltlich.Vorliegende Einspielung des Hessischer Kammerorchesters ist musikalisch von guter Qualität und stimmlich gut besetzt.

It’s a traditional production, in monumental sets. Haitink’s conducting is also on the monumental side, but it feels appropriate to the staging. It’s not insignificant that this production was last seen during Haitink’s farewell to the House in 2002. Luis Lima is a charming Carlos, a bit throaty, but there is an innocence about his acting that wins the audience over. Ileana Cotrubas’ Elisabetta is a wonderfully fragile one. Giorgio Zancanaro’s wonderfully aristocratic singing makes for an excellent Posa. Bruna Baglioni is a little matronly as Eboli, as are certain women in the chorus. Robert Lloyd is first and foremost a superlative actor. Philip’s response to Posa’s pleas are masterly, especially his eyes. (Mark Pullinger)