Golden-voiced soprano Elizabeth Watts has spent the past few years unearthing neglected arias by Alessandro Scarlatti, father of Domenico and founder of the rich Neapolitan school. With 600 cantatas and 100 operas to his name, Watts had plenty to go at. She’s come up with a delicious selection – some, such as Se geloso è il mio core from Endimione e Cintia (1705) and Farinelli’s showpiece, Torbido, irato, e nero, from Erminia (1723), dangerously difficult; others sweetly placid and beguiling – Sussurrando il venticello from Tigrane (1715), for example. Watts just about gets away with the spectacular pyrotechnics but is most affecting when Scarlatti takes his foot off the accelerator.
