Thanks for the link. This one was less of a succes for me. But feel free to keep on giving suggestions. Either way, it's an enrichment.
About the Scarlatti album. It was pure luck that I picked up that one. My girlfriend is also fond of it. I played it a lot when she was pregnant, for my daughter-to-be. Sometimes even directly on her belly. But my daughter doesn't seem to remember or recognise. Although she also appreciates the Goldberg variations. She had no choice, hearing it every morning :-)
Another album that's a "classic" for me and my girlfriend is Bach arias by Ophelie Gaillard. This is track 1 of the cd. Her ensemble is called Pulcinella, which was the name of Scarlatti's cat 😺
My girlfriend is not so fond of baroque music in general. Too busy and too repetitive. I think the third album that she does appreciate is Il pastor fido by Handel. One of his shorter operas, only 2 cd's long. Played this one a lot when my daughter wasjust born, in the hospital room.
Seems a lot of albums are related to important phases in my life ...

I got a chance to listen to that Scarlatti recording and I'm blown away. What a great album! Thanks for sharing it, I'll definitely be listening again.

Oh I can see how electronica and baroque music could be interesting for similar reasons, with the emphasis in both being on repetition with variation.

I've come at it from kind of the opposite end: I'm a folk musician who became fascinated by early music. I've been playing and listening to a lot of medieval and Renaissance music for the past five years, and lute music in particular. And of course if one is learning about counterpoint then Bach is going to come up. I've listened to more of his string compositions than his keyboard stuff, but I really enjoy it all. The recording that I've probably listened to most is Evangelina Mascardi playing his lute suite in E major; it's a perfect piece in my opinion.

Lately I've been really into Handel, and particularly his operas. There's some incredible music in those.

Thanks for the suggestion. I mostly don't get very far with harpsichord versions. But this one is indeed very nice, & soft. Very different compared to Jean Rondeau or Pierre Hantai. I suppose the harpsichord itself is what makes it so gentle compared to those versions.
I listened to electronic music the greater part of my life. Slowly lost interest. One day I went to the library with a Reddit must-listen Jazz list. Left with 9 jazz cd's and took a Scarlatti recording because of the nice cover. Listened almost exclusively to that cd. From there on it was a wild journey. Getting into vynil along the way because I got the opportunity to buy the complete Bach cantates on vynil.
Now I alternate again between baroque and electronic music.

I'll have to check those recordings out, thanks for the recommendations! I'm still relatively new to baroque music, although it's been a bit of an obsession lately.

My preference is towards performances on period instruments, and I found this video of Aya Hamada on harpsichord to be a great listen.

It was customary in baroque opera to do rapid scene changes with the curtain up. Here's a great example of the spectacular effect.

From Wikipedia:

From 1784 to 1859 the Parisian diapason (concert pitch) rose steadily from 820 to 896 cycles per second, thus Gluck's French version for haute-contre became increasingly impractical. When Adolphe Nourrit sang the role at the Opéra in 1824 his music was altered. Giacomo Meyerbeer suggested to the French mezzo-soprano Pauline Viardot that she should perform the role of Orfeo. The composer Hector Berlioz was a close friend of Viardot and the leading expert in France on the music of Gluck. He knew the score of "the largely forgotten Italian original as thoroughly as he knew the French", and agreed to prepare a version of the opera – in four acts – with Viardot's voice in mind: thus, he did not simply "return to the original contralto version, but rearranged and retransposed the Paris version into keys more suitable for a mezzo". In his adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score. He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama. He also restored some of the more subtle orchestration from the Italian version and resisted proposals by Viardot and the theatre's director Léon Carvalho to modernize the orchestration. In the end Camille Saint-Saëns, who was acting as Berlioz's assistant on the project, did some of the minor rewriting which Berlioz had declined to do.

The Berlioz version was first presented at the Théâtre Lyrique on 18 November 1859 with Viardot as Orphée, Marie Sasse as Eurydice, Marie Ernestine Marimon as L'Amour, Mlle Moreau as L'Ombre, and Adolphe Deloffre as the conductor. The sets were designed by Charles-Antoine Cambon and Joseph Thierry, and the choreography was by Lucien Petipa. (The seventeen-year-old Jules Massenet was the orchestra's timpanist. During the rehearsals Berlioz had complimented the young player on the accuracy of his tuning.) The production was a popular and critical success, filling the house every night, and was given a total of 138 times by the company.