The paper “Domenico Scarlatti e Il Teatro Musicale: Una Produzione Negletta” sheds light on the overlooked vocal and theatrical production of Domenico Scarlatti, known primarily for his harpsichord sonatas composed in Portugal and Spain between 1720 and 1757. Recent reevaluation has brought attention to Scarlatti’s lesser-known vocal and theatrical works. The text discusses Scarlatti’s early career in Rome, where he initially assisted his father in ecclesiastical chapels before seizing an opportunity to showcase his talents as a theatrical composer in the service of Queen Maria Casimira of Poland in exile in Rome.
The article delves into Scarlatti’s compositions for the queen, highlighting surviving fragments like the aria from “Ambleto,” showcasing his musical prowess. Scarlatti’s transition from Rome to Portugal and later to Spain with Princess Maria Barbara is explored, emphasising the evolution of his musical activities and court engagements. The text also touches upon the significance of Scarlatti’s stay in Portugal between 1719 and 1729, noting the understated nature of his public activities during this period.
Furthermore, the article discusses the importance of Scarlatti’s theatrical works, including chamber cantatas composed during his Italian period, shedding light on his artistic growth and departure from his father’s influence. The text underscores the need for a reevaluation of Scarlatti’s vocal and theatrical oeuvre, emphasising the potential discoveries that may arise from further exploration of his works, particularly those attributed to him in the collection of Carlo Broschi Farinelli.
