Die Bedeutung des Herzogs von Medinaceli für Alessandro Scarlattis Schaffen zwischen 1687 und 1702

This article considers the operas composed by Alessandro Scarlatti from 1687 to 1702 combining for the first time an in-depth analysis of historical sources with musical analysis. Firstly, historiographical issues are discussed, explaining why the main contributions have not resulted in a satisfactory overview of the 35 new theatrical works composed in those years. New sources are considered when explaining the complex connections between Rome and Spanish Naples, in which Scarlatti’s operatic output in those years should be framed. The second part of the article deals with single operas and questions regarding musical form and style. An overview of the operas composed for carnival seasons from 1688 to 1702 is presented, considering the number of singers involved and the number of scenes per act. Such an approach, stemming from music-dramaturgical analysis, make it possible to identify new patterns in the formal arrangement of operas that had not previously been taken into account. The final part of the article examines the physical and musical production of operas, taking a close look at the carnival season of 1696-1697 and at the cycle of five librettos written by Stampiglia for viceroy Medinaceli (three of them set to music by Scarlatti), focusing on ancient Roman history, as a means to promote a wider dissemination of the cultural discourse that was being developed at that time within the Accademia Palatina.