Davidis Pugna et Victoria

'De Marchi knows exactly how to keep things moving, and his performers are first class … Especially memorable is David's prayer 'Tu mihi supernum aeterne rex', which provides Invernizzi with an opportunity to soar celestially above flowing musical lines, in one of Scarlatti's most inspired melodic creations, a shining oasis of calm in the midst of pugnacious full-textured activity' (International Record Review)

'Such an impressive work - why haven't we heard it before? … Scatlatti's take on the story of David and Goliath is as dramatic as any early opera and it receives a performance to do it justice here' (MusicWeb.com)

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.