Having already recorded Pergolesi's Stabat mater (1/98), the Seminario Musicale turns its attention to the setting of Alessandro Scarlatti that obviously influenced it, written a decade earlier for the same aristocratic Neapolitan fraternity, who then wanted something more up to date. (Just recently, 4/99, both works were issued together on Opus 111 by Alessandrini's Concerto Italiano.) Here the parallel has been broadened by adding, as was done on the Pergolesi disc, one of the composer's settings of the Salve regina antiphon. Conditions in Naples restricted the forces available for the Stabat mater to two high voices (boys or castratos), two violins and continuo. But Scarlatti is adept at ringing the changes in style and texture: his opening verse is profoundly moving in its anguished chromaticisms. Gerard Lesne is his usual splendidly firm-voiced self, outstanding in 'Fac ut portem'; Sandrine Piau, besides displaying affectingly sweet tone, as in 'Virgo Virginum', is also able to throw herself with passion into 'Quis est homo qui non fleret'. When the two artists duet, however, Lesne tends slightly to overweight balances: the problem is exacerbated by the acoustic of the Versailles chapel selected as the recording venue, which tends to 'catch' certain notes.
It may seem perverse to say that the main work on the disc is outshone by the two short pieces included, both of which are gems. The three-voice Marian motet Quae est ista shows Scarlatti in light-hearted mood (where Piau's crystalline voice is given an opportunity to shine), the violins adding significantly to the mood of gaiety - altogether delightful. And the very fine Salve regina's sonority is richly enhanced by the addition of a viola; this is superbly sung by Lesne, spinning long vocal lines and placing fioritura with absolute assurance. The disc is well worth acquiring for these two items alone.'