Volume 1: O Sole Mio

1. 'Na Sera 'E Maggio

2. Giuramento

3. Core 'Ngrato

4. Maruzzella

5. Martellacore

6. "O Ole Mio

7. I Te Vurria Vasa

8. 'O Mare 'E Mergellina

9. Torna!

10. Napule Sott' 'E 'Ncoppe

11. Torna a Surriento

12. 'E Rose Chiagneno

Tracks:

Ombre tacite e sole: Adagio: Ombre tacite e sole
Ombre tacite e sole: Lento: Con piede errante e lasso
Ombre tacite e sole: (Recitativo): Qui, tra tenebre oscure
Ombre tacite e sole: Andante e Lento: Allor d'intorno a te
Il genio di Mitilde: Recitativo: Il genio di Mitilde mente non v'e
Il genio di Mitilde: Aria. Spiritoso: Tante il mar non ha procelle
Il genio di Mitilde: (Recitativo): Ella muove talor per vie romite
Il genio di Mitilde: Aria. Allegro: Cosi d'amor lo strale fugga
Perche tacete, regolati concenti?: Sinfonia
Perche tacete, regolati concenti?: Allegro
Perche tacete, regolati concenti?: (Adagio)
Perche tacete, regolati concenti?: (Recitativo): Perche tacete, regolati concenti?
Perche tacete, regolati concenti?: Aria: Alla mano che dotta in voi scherza
Perche tacete, regolati concenti?: (Recitativo): Ma che dissi?
Perche tacete, regolati concenti?: (Aria): Tra le fiamme del mio duolo
Perche tacete, regolati concenti?: (Recitativo): Ne m'ascolti, crudele
Perche tacete, regolati concenti?: Aria. Largo: Dormi, ma sappi almen
Perche tacete, regolati concenti?: (Recitativo): Ma tiranna, tu dormi
Perche tacete, regolati concenti?: (Aria): Deh pensieri in me si schieri
O pace del mio cor (First Setting): Recitativo. Adagio: O pace del mio cor
O pace del mio cor (First Setting): Aria. Lento: Spunta l'alba e nasce il sole
O pace del mio cor (First Setting): Recitativo: Porta il piede vagante
O pace del mio cor (First Setting): Aria: La pace del mio core
Il rosignolo (First Setting): (Allegro): Il rosignolo se scioglie il volo
Il rosignolo (First Setting): (Recitativo): Vola dal mirto al faggio
Il rosignolo (First Setting): Aria: Col tuo mesto mormorio
Infirmata, vulnerata (Motet): Largo: Infirmata, vulnerata
Infirmata, vulnerata (Motet): Recitativo: O care, o dulcis amor
Infirmata, vulnerata (Motet): Largo: Vulnera percute, transfige cor
Infirmata, vulnerata (Motet): Aria. Andante: Cur, quaeso, crudelis
Infirmata, vulnerata (Motet): Recitativo: Vicisti, amor
Infirmata, vulnerata (Motet): Allegro: Semper gratus, desiderabilis

Amazon.com

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

Customer Reviews:

as voice teacher and early music fan.......2006-05-14

Alessandro(Papa Scarlatti) was the first great master of Neopolitan opera. In addition to that he has composed several instrumental pieces, many cantatas and oratorios and much church music. Historians agree upon his importance as a link in the chain of the opera's development, and many of his arias are still sung. However, until recently the genius of his son Domenico's keyboard sonatas and the unavailability of his own music overshadowed his contributions. But in the 18th century Alessandro became the most widely performed Italian composer of vocal music with more than sixty operas and well over six hundred cantatas. Six of these are perfomed beautifully by David Daniels and the Arcadian Academy under the direction of Nicholas McGegan. The simplest work on this disc, in scoring and structure is 'Il rosignolo'(the nightingale) dated December 19,1698. The voice is accompanied only by the basso continuoI,and the cantata consists merely of two 'da capo' arias,both of which describe a peaceful pastoral setting. 'O Pace del mio cor'(Oh my heart's peace) is likewise scored only for basso continuo. The entire cantata is given over to a single textual idea, an obsessional quest for peace of mind, which the lovesick poet vainly seeks in Nature where peace is to be found. The cantata 'Il genio di Matilde' (Matilda's natureis very different in character, for it tells the story of a capricious woman with many changes of heart. Consequently, the music is more varied in tempi, vocal tonality and melodic line. However, the form and the scoring is much like the other cantatas. 'Ombre tacite e sol ' (silent and solitary shadows),dated October 31,1716, is the most fully scored work in this group, calling for two violins, viola and basso continuo. It is the story of a deceived lover, whose excessive self-dramatization is portrayed via the music itself and Scarlatti's excellent use of instrumental and vocal effects. The picture is a dark forest, waves breaking against the rocks,the howling of wild beasts, and the hissing of snakes. There are frequent and dramatic harmonic changes as well as rhythmic variety. 'Perche tacete' (Why are you silent, ordered harmonies?),written in 1694, is preceded by a three-movement instrumental introduction, after the manner of Corelli, whom Scarlatti knew very well. There is expressive vocal enlargement at pictorial works like 'scherza','sferza','amor'dolor''desir'and 'sospir'. 'Infirmata,vulnerata' (Weak,wounded)dated October 16,1702,is rare, because though it is a Latin Motet, it is not(unlike Scarlatti's other motets)on relgious words but on amatory sentiments. I personally think that these are very well chosen for there is much variety in form, instrumental accompaniment and most especially tempo. McGegan along with Daniels tear thru the fast sections very fast indeed!!!!But Daniels does a wonderful interpretation of the slow passages. All in all very enjoyable!!!!

Daniels and McGegan Score with Scarlatti Program.......2004-08-23

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.