Concerto de’ Cavalieri present four of Alessandro Scarlatti’s sacred works written in the modern stile concertante. Marcello Di Lisa’s use of only six singers, including elaborate solo contributions by both sopranos, and an assertive yet modestly scaled orchestra is sensible historically and stylish artistically. Benedicta et venerabilis es was written in July 1720 for the Carmelite feast of the Blessed Virgin at S Maria in Monte Santo, Rome – the same church and celebration for which Handel had written music about 13 years earlier. The scale and tone feel just right, with lyrical violin passages (solo and ripieno), alert consort singing and impressive solo contributions from a team that includes several eminent Italian specialists.

The core of the disc contrasts two motets for soprano, alto, strings and continuo. A setting of Salve regina has shades of the later style of Pergolesi in devout duet passages (eg “Ad te suspiramus”), but its uncertain attribution to Scarlatti does nothing to hinder empathetic singing by Sara Mingardo and Gemma Bertagnolli; the latter’s dramatic “Ad te clamamus” is some of the finest singing I’ve heard from her. The other Marian motet, Mortales non auditis, is assigned to Adriana Fernandez and Martin Oro; their animated singing is only a shade less impressive than their colleagues’ but the casting decision shrewdly shares the spoils evenly among the performers.

Proceedings conclude with one of Scarlatti’s three extant settings of Nisi Dominus: Bertagnolli and Mingardo sing concertante parts spiritedly, with the other four singers forming a sensitive ripieno chorus; the effect is splendid in fast music but especially beguiling in the slow contrapuntal chorus “Qui manducatis”. Interludes between the four featured vocal works are played charismatically by Andrea Coen on the 17th-century organ in the Basilica di S Giovanni Battista dei Fiorentini, Rome. Highly recommended.