by Elizabeth Watts December 1st, 2014



I have recently emerged from a week in the recording studio with Laurence Cummings and the English Concert Orchestra making a CD for Harmonia Mundi to be released some time in 2015. The recording days followed on immediately from a wonderful concert together of the same repertoire at Milton Court in London on 9 November.


Bird's eye view of Scarlatti rehearsals. Photo: Claire Hammett

Bird’s eye view of Scarlatti rehearsals. Photo: Claire Hammett


The recording is essentially the final phase of many months – years, really – exploring the wonderful music of Alessandro Scarlatti. I’m doing all this Scarlatti basically because it’s good! Years ago a teacher recommended one of his arias (Ergiti) and I really liked it and thought there must be more to this composer than I knew. Most singers come across him in their books of ‘Arie Antiche‘ when learning to sing but we never hear these arias as they were originally written, with orchestra and a professional singer. So, I started researching. I found some wonderful cantatas, but a lot of these have been recorded so I went to Westminster Music library and got out every score of Alessandro Scarlatti (not to be confused with Domenico, his son) I could find. Laurence Cummings and I ploughed through any remotely promising arias and made a long list, then a short list. I also came across an aria from a serenata called Erminia, the manuscript of which is at the Royal College of Music. I had hoped to make the first recording but someone beat me to it!


Is that what he wrote?  Laurence and Liz check out Scarlatti. Photo Claire Hammett

Is that what he wrote? Laurence and Liz check out Scarlatti. Photo Claire Hammett


In the end I thought it would be good to make a disc that is an overview of all different types of his vocal output: opera, oratorio, cantatas & serenatas. So that’s what the disc is, a sort of potted Scarlatti round up. I have nicknamed it Scarlattery.

On the opera side, Scarlatti is considered the founder of the Neapolitan school and yet the piece that is considered his masterwork, Mitridate Eupatore, does not have a modern recording (I think there is a dodgy 50s one arranged for modern orchestra). Three arias are featured on the disc. Finding the music has been a nightmare! The music is definitely nodding towards the bel canto era that is to come and can be supremely difficult in places.

Probably the most difficult piece on the disc is the Erminia aria, probably because it was written for a castrato, the great Farinelli. He clearly had quite a set of lungs! The phrases are very long and full of breathtaking (literally!) virtuosity.

It’s been a major undertaking to put all this music together for the disc, to find the scores and to learn 16 technically very difficult arias, many of them Da Capo. Laurence and I have been spending many hours dreaming up exciting ornaments. It’s a great challenge but hopefully by the end of it many more people will have heard more from this neglected composer.

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by Kate Whitley October 27th, 2014

A little me time

Every BBT award winner is offered the chance to visit Il Boscoforte, Ilaria Borletti-Buitoni’s country house in Italy, to take the opportunity to escape, either for a holiday or to work. Although I was desperate to go as soon as I discovered this at my first meeting with Susan, Debra and David back in January, it wasn’t until October that I finally managed to clear enough days to make it possible.

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by Alec Frank-Gemmill October 7th, 2014

Whistle and flute* for horn player

Horn player Alec Frank-Gemmill spends a little of his 2014 BBT Fellowship money on kitting himself out…

Does it matter what you wear on stage? Surely the important thing is what you sound like, not what you look like? I used to be amazed and slightly perturbed by the number of comments I received after performances about what I was wearing. Why weren’t they focusing on my horn playing?! Actually the more concerts I go to the more I realise what a big impression the look of the performance makes. Of course, the music is the most important thing but the audience spends up to two hours staring at you – their impression is inevitably coloured by what you choose to wear.

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by Erik Bosgraaf October 1st, 2014

Willem Jeths Recorder Concerto

“My new Recorder Concerto which I especially composed for Erik Bosgraaf has become one of my most personal and biographical works and has an enormous emotional impact.” Willem Jeths

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by Tine Thing Helseth November 5th, 2013

Holiday is a duty!

For the first time in many years I had a real holiday, and suddenly I understood all the fuss my friends are on about – it’s a magical experience!

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by Borletti-Buitoni Trust June 17th, 2013

View from the platform: BBT Celebrated

The following first appeared in the programme book for BBT Celebrated at London’s Southbank Centre, 17-19 May 2013.

In ten years the Borletti-Buitoni Trust has honoured a veritable orchestra of musicians. By my calculation, it could have mounted a tenth birthday performance of Beethoven’s Ninth Symphony, conducted by Robin Ticciati (Fellowship 2005), if the 19 pianists, three guitarists and two harpists helped flesh out the chorus and some of the solo cellists transferred to the double basses. But that’s not the BBT way. Rather, we celebrate with a wealth of chamber music that goes to the very heart of what the Trust is all about: the development of the musician.

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by Guest May 22nd, 2013

Storified: BBT Celebrated

Souvenirs of a wonderful week in London with Mitsuko Uchida, Ilaria Borletti-Buitoni and a fantastic line-up of BBT laureates:

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by Henk Neven May 14th, 2013

BBT Celebrated: Henk Neven

As we prepare to celebrate a decade of BBT this weekend, baritone Henk Neven (BBT fellowship 2009) shares his thoughts on the concept of talent as seen by mass media versus true talent.

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by Elias String Quartet May 7th, 2013

BBT Celebrated: Elias String Quartet’s Marie Bitlloch

The latest in our series of BBT Celebrated guest blogs, cellist Marie Bitlloch on why touring the Quartet’s Beethoven Project is like living a dream. 

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by Nicolas Altstaedt April 30th, 2013

BBT Celebrated: Nicolas Altstaedt

Cellist Nicolas AltstaedtBBT fellow in 2009, talks about why Schubert’s Trout Quintet is special to him and weighs in on our debate, “Is Talent Enough?”

Can you share a special memory about the year you received your BBT Fellowship?

I heard the news that I had received a BBT Fellowship during a time when I was working on two concerto recordings. I remember the Ebène Quartet arriving in Berlin at night, when I was just finishing my last notes of the cadenzas for Haydn’s concerto with the Kammerakademie Potsdam in the freezing Jesus-Christus Kirche in Dahlem. I joined them for a few happy hours sharing these news, before leaving in the early morning fog to take a train to my hometown, Heidelberg. I also remember listening to the edits of a piece that I had recorded three weeks before and which fitted my state of exhaustion and insomnia: the Schumann concerto.

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