Until recently, so much of this first opera that Handel wrote for Italy was lost that it was unviable to stage it. The rediscovery of the missing material, a triumph of scholarly detective work, reveals the confident high spirits which characterise so much of Handel’s music during his Italian visit. It lacks the instrumental colours of his more lavish London productions, with many arias supported by continuo alone. All are here, complete (even six which Handel himself discarded), but many are brief and, under Curtis’s lively direction, the dramatic tension builds up splendidly.

Porpora is best known for his open rivalry with Handel on the London operatic scene, and is remembered more for the ferocious controversies that raged between the two men than for his music. But this dazzling new disc from Auser Musici shows the composer to be a profound musician with a rich and wide-ranging output, a mastery of compositional technique and a keen sense of theatre and dramatic pacing. Stylishly performed and recorded, this disc will surely force a reappraisal of Porpora’s artistry and reawaken interest in this great composer.

The revival of interest in female classical composers reflects a growing recognition of their overlooked contributions to music history. For centuries, women composers were marginalized, their works overshadowed by their male counterparts. However, recent efforts by musicians, scholars, and institutions have brought these composers into the spotlight, highlighting the richness and diversity of their compositions.

Davvero bella e coinvolgente l’interpretazione dei tre cantanti che sanno calarsi con efficacia e la giusta teatralità in queste du fascinose pagine, sorretti con brio e vitalità da Auser Musici, diretto con intelligenza, buon gusto e assoluta proprietà da Carlo Ipata.

Conductor Diego Fasolis and his Coro della Radio Svizzera always can be counted on for a very good show, and this one, featuring two well-known if not necessarily top-drawer Handel works, is no exception. The early Dixit Dominus, with its Vivaldian "De torrente in via" movement and other Italian stylistic elements, is appropriately lively and crisply articulated in the fast sections and fully indulgent of the slow passages, allowing us to hear in gorgeous detail the promising signs of Handel's germinating genius.

Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant'Angelo in the fall of 1716. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier. Domenico Lalli, his librettist, who settled in Venice in 1710 after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century.

Extraordinarily, Alessandro Scarlatti (who died in 1725 and forms a strong bridge between the mature Baroque and later classical traditions, according to musicologist Edward Dent) wrote some sixty-four operas, twenty oratorios, hundreds of chamber cantatas, and a host of madrigals, masses, motets, toccatas, concertos, sonatas and symphonies. Very little of this is heard today, sadly, except in specialist circles. Perhaps one of the more popularly performed pieces is 'Abramo, il tuo sembiante' (a Christmas cantata). When Handel visited Italy between 1706 and 1710, he met Scarlatti and may even have studied with him. This performance of said cantata is well within the Italian style - clear lines and intricate ornamentation.

Being the child of a famous father can be quite a burden, in particular when father and child have the same occupation. The Bach sons knew all about it. It can also be a blessing, though. That was certainly the case with the two most famous female composers of 17th-century Italy, Barbara Strozzi and Francesca Caccini. The latter was the daughter of Giulio Caccini who with his compositions and in his writings expressed a new approach to music in which the text was at the centre and should be depicted in the music.

Founded in Amsterdam in 1979 by Alan Curtis, one of the most acclaimed specialists in the interpretation of pre-romantic music, Il Complesso Barocco, has become a renowned international baroque orchestra with a focus on Italian Baroque opera and oratorio. Their rich discography was for a time devoted to the late madrigal repertory, and the film director Werner Herzog chose the ensemble as protagonists for his film Morte a cinque voci (Prix Italia 1996 and Premio Rembrandt, Amsterdam 1996) dedicated to the composer Carlo Gesualdo.

This series of CDs by Tactus and Modo Antiquo represents the first complete recording of the cantatas of Antonio Vivaldi. Up until now, these works have appeared only sporadically on record, yet they constitute quite an important body of works in Vivaldi’s total production. Dedicated exclusively to female voices, the cantatas have here been divided according to the classifications used in the Ryom catalogue: cantatas for soprano and continuo, cantatas for contralto and continuo, cantatas for soprano and instruments, cantatas for contralto and instruments. Modo Antiquo has approached this first complete recording of the cantatas by Vivaldi with full respect for the original texts and the performance practices of the period.

Within the vast repertoire of the Baroque oratorio, San Nicola di Bari is unique in two ways. It is the only composition to treat a scene from Saint Nicholas' life, and the only one that emerged from the long and successful collaboration between the librettist Silvio Stampiglia and the composer Giovanni Bononcini. Ramée hopes that this recording of Bononcini's most successful oratorio will awaken some curiosity about the many other masterpieces of a composer who has, unfortunately and undeservedly, dwelled too long in the shadows.