David ROBERTA INVERNIZZI soprano
Goliath ANTONIO ABETE bass
Jonathan ROBIN JOHANNSEN soprano
Saul MARTIN ORO countertenor
Narrator FREDRIK AKSELBERG tenor

The banning of opera performances during Lent in seventeenth- and eighteenth-century Rome meant that composers had to turn their attention to biblical subjects. However there is no sense that either composer or librettist felt at all limited in their subject matter, judging from the extraordinarily inventive oratorios that were produced during this time. Scarlatti’s work tells the dramatic story of David and Goliath. Whilst the biblical account relays the story in a few sentences, the anonymous librettist of Davidis pugna et victoria expands upon these to create an extensive libretto, with
the characters fully developed and explored. Scarlatti’s musical response to the libretto demonstrates his gift for characterization, which acts as a commentary on the unfolding narrative. Performances of thrilling dynamism and instinctive style from Academia Montis Regalis make the strongest possible case for this work.

Praise for HANDEL Il trionfo del Tempo e del Disinganno CDA67681/2

‘Handel’s first oratorio … is also his most exquisite. ‘The Triumph of Time and Dis-Illusion’ … bursts with youthful vitality and virtuosity as it blends a moral-religious allegory with some astute early psychology … Alessandro De Marchi energises his Academia Montis Regalis and some fine soloists into the perfect blend of Baroque dynamism and ethereal beauty’ (The Observer)
‘Handel’s invention is consistently glorious … with her pure, pellucid timbre and acute response to the text, Roberta Invernizzi eloquently limns Beauty’s journey from blithe, carpe diem heedlessness to the grave simplicity of her final prayer’ (The Daily Telegraph)
‘Handel’s exuberant first oratorio … its animated, thrilling score brings a delightful humanity to all the philosophical pondering … accomplished, responsive playing and the tempo is always smart. Elsewhere, Roberta Invernizzi’s luscious-voiced
Bellezza is the undisputed star, impressive in her many fiendish arias’ (The Times)
‘A wonderfully inventive and exuberant work … Invernizzi’s alluring voice is fluent in challenging virtuosity but sweetly pentitent as she rejects Aldrich’s somewhat assertive ‘Pleasure’ … a high point is a quartet combining highly differentiated characters with almost Mozartean skill. Ornamentation and improvisation is highly stylish throughout, and orchestral support polished … altogether thoroughly enjoyable’ (BBC Music Magazine)