Camilla de Rossi and Maria Margherita Grimani, contemporaries of Alessandro Scarlatti and largely forgotten today, made remarkable contributions to the oratorio genre at a time when few women were composing - and even fewer in official circles.

Soprano Suzanne Jerosme, Jörg Halubek and Il Gusto Barocco are reviving several of their works, which have been preserved in the holdings of the Austrian National Library since the early 18th century.

Alongside arias by Alessandro Scarlatti, who helped shape the oratorio form in both Rome and Vienna, these strikingly beautiful compositions come to light - more than deserving a place among the masterpieces of their time.

Maria Margherita Grimani: Sinfonia & Arie "Sol fia pago" aus La Visitatione di Santa Elisabetta; Sinfonia & Arie "Serenative niei lumi" aus La Decollazione di San Giovanni Battista
+Camilla de Rossi: Sinfonia & Arie "Tu sei quella navicella " aus Il Figliuol prodigo; Sinfonia & Arien "Non e mai sereno un ciglio" & "Cielo pietoso" aus Sant'Alessio; Sinfonia & Arie "Ogn' affetto fora impuro" aus Santa Beatrice d'Este
+Alessandro Scarlatti: Arie "Sento all'alma nuova vita" aus La Maddalena penitente; Arie "Madre tenera" aus Cain; Arien "Soccorretemi cieli fedeli" & "All' armi, o costanza" aus Il Martirio di Santa Teodosia; Arien "Caldo sangue" & "Se il generoso cor" aus Sedecia, Re di Gerusalemme