D. Scarlatti: La Dirindina; Pur nel Sonno; Sonatas K. 88, 91 Ars Lyrica Houston

• 1 Sinfonia: Minuet 01:21
• 2 Part I Scene 1: Recitative: Signora Dirindina (Don Carissimo, Dirindina) 03:25
• 3 Part I Scene 1: Aria: Vo' cantar come a voi piace (Dirindina) 02:48
• 4 Part I Scene 1: Recitative: E questo basta a me (Don Carissimo, Dirindina, Liscione) 03:31
• 5 Part I Scene 1: Aria: Sola voi? (Don Carissimo) 01:20
• 6 Part I Scene 1: Recitative: Sola, signora si, sola benissimo! (Liscione, Don Carissimo, Dirindina) 03:11
• 7 Part I Scene 1: Trio: Commar Dirindina (Don Carissimo, Dirindina, Liscione) 01:40
• 8 I. Grave 02:09
• 9 II. Andante moderato 02:17
• 10 III. Allegro 01:24
• 11 IV. Minuet 01:32
• 12 Part II Scene 1: Ma il vostro sentimento (Dirindina, Liscione) 00:42
• 13 Part II Scene 1: Queste vostre pupillette (Liscione) 01:18
• 14 Part II Scene 1: Recitative: Di voi mi fido (Dirindina, Liscione) 03:38
• 15 Part II Scene 1: Aria: A un amante (Dirindina) 01:34
• 16 Part II Scene 1: Recitative: Ma quellche piu pillota (Liscione, Dirindina, Don Carissimo) 06:03
• 17 Part II Scene 1: Trio: Dammi la na Liscione (Don Carissimo, Liscione, Dirindina) 01:09
• 18 I. Grave 01:27
• 19 II. Allegro 03:42
• 20 III. Grave 01:02
• 21 IV. Allegro assai 02:09
• 22 Introduzione alla Cantata 02:42
• 23 Minuetto 01:28
• 24 Aria: Pur nel sonno almen tal'ora vien colei 07:15
• 25 Recitativo: Pria dall'aurora o Fille, io sognando ti vidi 02:45
• 26 Aria: Parti con l'ombra e ver l'inganno et il piacer 05:07
• Total Runtime 01:06:39

Info for D. Scarlatti: La Dirindina; Pur nel Sonno; Sonatas K. 88, 91

The story of La Dirindina concerns a wily but gifted young singer, Dirindina (Jamie Barton), and her teacher Don Carissimo (Brian Shircliffe), whose interest in his pupil is more than a little untoward. Dirindina’s independent spirit and her ability to sing (when she wants to) annoy Don Carissimo, who is further vexed by the appearance of Liscione (Joseph Gaines), a famous castrato who brings some surprising news: the Milan theater wants to engage Dirindina as its prima donna. Don Carissimo flies into a rage, stammering his way through a highly amusing and forward-looking aria, only to see that his pretty pupil is now flirting openly with the castrato.

Part II opens with the unctuous Liscione plying Dirindina with a little minuet, which manages simultaneously to flatter the young singer’s ego while lampooning the fashionable but shamelessly sentimental manners of the aristocracy. Dirindina responds with perhaps the oddest aria in the work, full of syncopations and serpentine melodies that cheekily invoke various bodily fluids, with which she promises to seduce the Milanese public. The ensuing “play within a play,” a mock enactment of the tragic Dido’s rejection of the feckless Aeneas, is witnessed by Don Carissimo, who fails to get the joke and thinks that his ward is not only with child but ready to commit suicide. As with all good comedies, the joke’s on him: the finale is both outrageous and touching, as the capon and the hen are joined in hand by a thoroughly deceived old man.

The story of Pur nel sonno, showcasing soloist Céline Ricci, is delivered from the unlucky suitor’s point of view, and from the outset, the mood is dark: an Introduzione in two parts—something one might expect only at the head of a full-length opera or oratorio—is by turns aggressive and pensive. The sinewy first aria introduces a world-weary lover, one rejected by the unattainable Phyllis but unable to forget her, even in sleep; his passion remains sadly one-sided. A highly dramatic recitative follows, as the protagonist’s dream veers from lovely visions to fear and shame. His final realization—that he’ll never be free again—is given full vent in a tour-de-force concluding aria with abundant vocal fireworks.

'This has got to be one of the neatest intermezzi of the early 18th century. Here you have it; comedy, sex, coarse language, and some extremely sprightly tunes, not to mention a recitative that actually has some comedic plot to it…What’s not to like?…this is music that, barring censorship for indecent behavior, should bring a smile to any audience.'

'It is double surprise that this has not been recorded more frequently. I would hope this disc is the one to resurrect the work from undue oblivion. Matthew Dirst keeps his ensemble crisp and precise, and it remains the core of the production. Both mezzo-soprano Jamie Barton and bass Brian Shircliffe follow along nicely…Céline Ricci’s soprano is…refined and on pitch, and Joseph Gaines’s Liscione is played to fine comic effect…it is an important addition to the intermezzo repertory that has long been missing…you could not go wrong…in obtaining this one.' (Bertil van Boer, Fanfare)

Celine Ricci, soprano
Jamie Barton, mezzo soprano
Brian Shircliffe, baritone
Joseph Gaines, tenor
Ars Lyrica Houston Ensemble
Matthew Dirst, conductor

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Booklet for D. Scarlatti: La Dirindina; Pur nel Sonno; Sonatas K. 88, 91