Premiered in 1721 at the Teatro Capranica in Rome under the patronage of Prince Francesco Maria Ruspoli, this was the Sicilian composer’s 114th and last opera, one widely regarded as his musical testament.

As Professor Silke Leopold points out in the libretto accompanying the recording, it is as if the composer, who was of course unaware that this was to be his last dramatic production, had set out to create an exemplary work in which all the conflicting elements to be found in the operas of the period were fused into a single, wonderfully balanced and coherent whole.

As the dramatic action unfolds, it is sustained by a perfect interplay of the two elements of recitative and da capo aria, achieving moments of great beauty which culminate in arias such as "Finirà, barbara sorte", sung by the heroine in Act II.

The limited role of the orchestra as soloist like that of the chorus, creates a surprise effect on the audience and serves to heighten the interest, if such a thing is possible, of this beautiful music created by one of the most refined composers of the Baroque period. René Jacobs’ masterly re-creation of Scarlatti’s Griselda, together with the voices of the six soloists, which are extraordinary in terms of both suppleness and timbre, together with the velvety tones of the orchestra, make this set a discographic treasure.
MARICARMEN GÓMEZ

Griselda
ALESSANDRO SCARLATTI
René Jacobs
Akademie für Alte Musik Berlin
harmonia mundi HMC 901805.07
2002 - 182:00 min.