Customer Reviews

Andreas Scholl - Ombra mai fu ~ Handel Arias from Giulio Cesare, Admeto, Radamisto, Rodelinda, Serse, Alcina

5 star:		(10)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

After reading though the reviews of a few of the Andreas Scholl recital discs, I have come to the conclusion that most of the negative reviews originate from people who think they are "the" experts on Baroque music. They label his voice too "innocent", "precious", "bland", and "cold." They praise David Daniels, who in my opinion has a muddled middle register, and messy coloratura. Yes, maybe Daniels can be more dramatic and interpretive- I have seen/heard him in the title role of Giulio Cesare, at Houston Grand Opera. But, then again, I have also seen/heard Susan Graham as Ariodante, which was 100 times a more powerful, dramatic performance.

I differ from many of my American counterparts in that I think the quality and beauty of the voice can be enough in and of itself. Perhaps this is why, for example, I adore Joan Sutherland. She may have had the acting ability of an armchair, but she redeemed herself with truly glorious singing, leaving a legacy few sopranos today can even hope to match.

Having said all that (thanks for hearing me out!), I would encourage anyone, expert or novice, to buy this CD. Perhaps there a few more instrumental tracks that one would want, but overall, Harmonia Mundi had a great idea in mind. If you want to hear nothing but Scholl, you can buy The Voice, which I also highly recommend.

One of my personal favorites is his interpretation of Va, Tacito, from Giulio Cesare. Just listen to the variations he includes in the last repeat of the da capo aria. To say that I was enraptured would be an understatement. Another great selection is Fronde Tenere/Ombra Mai Fu. Instead of trying to "ham it up", he just sings it with beauty and clarity, with an amazing upper register. These two are just a few of what are a series of highlights.

Aside from the beauty of his singing, another great thing about Scholl is how comfortable he is in the lower register. He flirts with it, on occasion, and the first time you hear it, your jaw will drop. He defies the stereotype of the womanish, effeminate countertenor!

Bravissimo, Scholl. You're the only countertenor for me.

Andreas Scholl's angelic voice once again shines in this album with arias from seven different Handel operas written at the peak of the composers productive career. Only Julius Cesar is one of the more frequently performed ones in this selection, so we gain insight into rarely performed treasures from Alexander's Feast, Radamisto, Serse and others. The selection is beautiful and the Academy of Ancient music Berlin does a wonderful job in orchestrating the pieces. This album is another gem that no Scholl and baroque music afficionado should miss out on

I am not a fan of the "sound of a countertenor or male alto." I stumbled upon this recording & cannot stop listening to it and recommending it to friends. Scholl's voice is not "plummy" but strong and vibrant and filled with colors. I would love to see and hear him in person-perhaps an opera if this is where he wants his career to go. I am a fan & have just purchased 3 more of his cd's.

I love the Handel collection in this album. The instrumental as well as vocal excerpts are being delivered in exceptionally musical manner.
Needless to say, the 'hottest' countertenor today is Frenchman Philippe Jaroussky - and it is easy to guess why.
If there is 'fach' differences in countertenors as well, Scholl is an alto, while Jaroussky and Waschinski are sopranos.
Having heard Mr. Scholl in live performance, I would report that Andreas Scholl is currently the top man in this genre.
Why? Countertenor technique uses almost solely the headvoice. While many countertenors enjoy an exceptionally pure and sweet timbre in the headvoice section, not all countertenors are able to be as expressive as female sopranos or mezzo-sopranos. I have not heard any countertenor who could employ mezza di voce in the manner as Scholl does. Very often, even if countertenors own voices of exceptional purity, on prolonged listening and in dramatic moments, often the delivery falls rather short even in the most musical singer. Not so for Andreas Scholl, a miraculously gifted and truly intelligent musician and singer.
His repertoire extends from modern folk songs to renaissance period compositions, from lieder to operatic works. His 'Ombra Mai Fu' is about the best version available on record, whether by countertenors, mezzo-sopranos, baritones, or tenors.
I totally disagree that he is a hype. Time has proven since this release that this exceptionally talently musician is an artist of the highest calibre.

This was the first of many CDs that I've bought with Andreas Scholl! This CD introduced me to the beauty of his voice, and the great repertoire of this particular recording convinced me of the sheer quality and artistry of this young german singer!

Andreas Scholl is one of the leading countertenors in the world and I believe that this is the perfect CD to get to know him! I'm absolutely sure that you'll end up wanting to buy many more of his recordings and that you'll never be dissapointed by any of them!

UPDATE:
I've have been enjoying this CD for almost 5 years already! So much so that recently (May 2004), when I decided to buy a new home sound system, I carried it along with me in order to be able to compare the options that I had!

Andreas Scholl is a very talented performer whose singing is marked by quality and consistency that will surely earn him a place in history. Giving him anything less than five stars is unfair. His Ombra mai fu, showcased on this recording, literally mesmerized the house at the recent EMI anniversary gala, causing a major label war for his allegiance (he did switch labels). Tastes may differ, but he deserves to be heard! This recording also includes instrumental pieces.

I really love this recording. I was actually looking for a good contertenor album so I bought this one. I am not disappointed. Scholl's voice is beautiful, soothing and really moving.
I also bought David Daniels 'Handel Operatic arias'at the same time.
I'm no opera expert but I must say there are striking differences in their renditions of even the same arias- in all cases I have preferred Scholl's delivery (especially Ombra mai fu) His voice is very effortless and sublime. I agree with the reviews above that Daniels vocals can be more dramatic and powerful. Also on Scholl's CD all the tracks are serene with just one aria that can give that amazing adrenaline rush(Confusa Si Miri)!! Not the case with Daniels CD.
So together this twosome makes a great CD combination but if I had to choose one it would be this one of Scholl's.
My only problem with this CD is that nearly half of the tracks are instrumental. Still worth all the praise!

CASTRATI? COUNTERTENOR? MALE ALTO? YOUR CHOICE! LET'S JUST BE CONCERNED WITH THE SOUND OF THE VOICE.
And in Scholl's case it is quite good; that is it is correctly produced, displays the proper diction and has a pleasant sound. The collection on this recording is wide and varied and interesting. However, I would have preferred not hearing again and again 'Ombra mai fu' and 'Dove Sei'. While they are certainly beautiful arias, they have been recorded over and over again ad infinitum. Of course, that's a personal observation on my part.

"According to Charles Burney Handel's operas represented the most complete concerts during which, in addition to the most perfect singing and the effects of a mighty and well-disciplined orchestra, there were excellent acting and splendid scenes and stage decorations". Thanks to his numerous contacts with Italy, Handel had the opportunity of calling upon the most extraordinary castrati. On this recording we can hear the most beautiful arias ever written for these castrati who, thanks to countertenors like Scholl, as well as many others, have come back to life.

The opera 'Admeto', first performed in London at the Haymarket Theatre in 1727 featured the famous castrato Senesino. In his royal chamber Admeto is suffering the pangs of hell, but cannot die 'Chiudetevi miei lumi'(Close you, my eyes, in everlasting forgetfullness).

'Rodelinda', written in 1725, uses political history as the basis for a romantic tale of conjugal love and faithfulness. Bertaridus, having been exiled from his country, has returned in secret to search for his wife and son 'Dove Sei?'(Where are you beloved one?) Thinking her to be unfaithful he sings 'Confusa se miri l'infida consorte' (Confusion take her, faithless consort).

'Giulio Cesare in Egitto', with its skillful dramatic structure depicts a story of love, seduction, power, grief and intrigue. 'Va Tacito'is Caesar's challenge to battle addressed to his opponent Ptolemy. In this aria Handel's instrumentation includes a very difficult horn part that alludes to the horn associated with the 'hunt'.

'Serse' was Handel's third to last opera written in 1737-38. Xerses, the King of Persia is lying under a tree in the garden whose shade inspires the aria 'Verdi Prati'.

In addition there are three instrumental selections: Overture from 'Admeto'; Sinfonia from 'Serse' and selections from 'Alexander's Feast. These are all very capably performed by the Academie fur Alte MUSIK BERLIN.

It is gratifying to have an abundance of male falsetto voices to perform this wonderful Early Music and Baroque music in its authentic style. Although Scholl is not one of my favorite falsettos, he is to many people(all over the world) a favorite and I respect their preference. I find his operatic singing a bit on the cool side; not dramaticlly rendered to my taste. But again, my personal opinion!

The liner notes of the information are in English,German and French. The text is included in English, German, French and Italian.

This is an impressive CD. Handel can get a bit tedious, and we see a bit of that here. As someone once said about Vivaldi, " He didn't write a 100 concertos, he wrote the same one a hundred times." You get a hint of this at times with Handel.But Scholl is something else. Unfortunetate only about half this CD features Scholl; half is instrumental works by the composer.Scholl has a voice which is 'manlike.' My great son-in-law walked through our condo while this was playing. Listen!,Jim is not 'into' opera much less a male sounding like a woman. But, Jim said,"That guy has a good voice." Enough said. Tulsa Joe

Scholl's singing ability as a counter-tenor can easily be described as nothing short of amazing, and one might add, truly unique and magnificent. Through some sublime mixture of genetics and practice, this man has developed a voice that truly shines beyond anything we would normally hear. There are many, many truly gifted operatic singers in the world today, and there is no effort here to diminish the accomplishments of these performers, but Scholl stands out in a way that is hard to describe -- yet immediately apparent -- once you take a few minutes to listen. It's simply an amazing voice.

Adding to the enjoyment is the technical aspects of the recording by Harmonia Mundi and also the orchestral performance of the Akademie Für Alte Musik Berlin, both of which are simply first rate. This is all the better, of course, for it allows us to be undistracted by technical and performance issues to focus on Scholl's singing. If all recordings were made to this level, it would be wonderful, but for the moment, we can just sit back and take in this fine example of technical and performance achievement.

The CD itself is a somewhat eclectic set of pieces taken from among Handel's voluminous operatic output. Amongst the many wonderful incarnations here, especially look for the pieces from "Serse" and "Julius Ceasar." A few of the pieces have extended orchestral sessions without any singing at all, but these are necessary to set the scene for the introduction of the voice. To this recording add the equally fine, but distinctively different The Voice, plug in some high quality headphones, and enjoy what can only be described as an exquisite vocal experience. A modern day marvel.