Gerda Struhal's clean fingerwork and ornamentation, strongly projected yet never exaggerated bass lines, and her solid rhythmic sense and good taste bode well for Scarlatti....

Gerda Struhal's clean fingerwork and ornamentation, strongly projected yet never exaggerated bass lines, and her solid rhythmic sense and good taste bode well for Scarlatti. Among this release's high points include a lyrically shaped and crisply delineated F major K. 151, the subtle use of dynamics for harmonic coloring in the C major K. 309, and the F minor K. 186's musically purposeful distinctions between legato and detached articulation. To be sure, Struhal may not match more forceful and inspirational personalities in certain works. Compare, for example, Maria Tipo's hushed tonal magic in the G major K. 425 alongside Struhal's relatively matter-of-fact reading, and you'll understand what I mean. At the same time, Struhal will split the difference between interpretive extremes like Tipo's gentle, dulcet E major K. 381 and Christian Zacharias' far brusquer, aggressive antipode. A fine addition to Naxos' ongoing Scarlatti cycle.

--Jed Distler, ClassicsToday.com