Disperato Amore (2005)

The booklet for this fine disc from Montreal includes a wonderful characterization of Alessandro Scarlatti's music, especially of the cantatas recorded here. "His music's eloquence," wrote French pedagogue Ennemond Trillat, "does not implore; it stems from that spiritual intoxication which is the very essence of the Baroque. And this music sings without phraseology. It is free of all extrinsic intent, and its lyricism produces perfect forms. Its fluid grace is essentially melodic, but without a trace of exuberance." The ... Read More

The booklet for this fine disc from Montreal includes a wonderful characterization of Alessandro Scarlatti's music, especially of the cantatas recorded here. "His music's eloquence," wrote French pedagogue Ennemond Trillat, "does not implore; it stems from that spiritual intoxication which is the very essence of the Baroque. And this music sings without phraseology. It is free of all extrinsic intent, and its lyricism produces perfect forms. Its fluid grace is essentially melodic, but without a trace of exuberance." The same virtues apply to the performances here by Canadian countertenor Matthew White. In a Baroque scene filled with athletic, heart-on-sleeve countertenors, he goes in the opposite direction. Although it's not from a lack of power (little flashes of full voice bubble up in his interpretations like intimations of a feeling's depths), he has specialized in music of smaller dimensions: Bach cantatas, Buxtehude, Purcell, and the highly romantic cantatas for voice and ensemble heard here,... Read Less