Customer Reviews

Arias for Senesino

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This has been a long awaited release from star countertenor Andreas Scholl, but although the singing is as nuanced and fluent as before, and the playing generally thrilling, Decca's (presumably) choice of repertoire is disappointing. Also, disappointingly, apart from some informative notes on Senesino from David Vickers, the lion's share of information on each aria, its origins and context, is in Italian only.

Scholl, along with American David Daniels, has been most responsible in the last decade or so for popularising the operas of Handel, and tackling the castrato roles that many thought previously were too difficult for modern singers to cope with. Here he sings a programme of arias created (in the most part) for the castrato Francesco Bernardi, known as Senesino. Arias from various stages of Senesino's career are represented here, though there is a major bias to the Handelian operas of the mid-1720s period - Rodelinda and Giulio Cesare. But, there are also arias from Albinoni, Lotti and Alessandro Scarlatti, tohgether with the last aria thought to have been sung by Senesino - Porpora's 'Va' per le vene il sangue'.

Scholl has recorded most of the Handel arias before for both Harmonia Mundi and Decca, except the opening aria Bel Contento from Flavio. His singing here is delightful and his ornamentation understated but interesting. Similarly, his mature interpretation of the scenes from Rodelinda and Giulio Cesare shows his experience of both roles in the theatre, and while the voice perhaps has lost a bit of that 'purity' in the highest notes, his attention to the text is absorbing. Al Lampo dell'armi is thrilling at breakneck speed but is perhaps not the best example of this type of aria written for Senesino. Why Cara Sposa is included, written as it was for an earlier singer Nicolini, is slightly unclear, except as a piece of marketing, but it is the least effective aria which fits Daniels' voice more readily than Scholl's.

The best singing, and playing comes in the non Handel arias. Here Scholl has the chance to show off his remarkable voice to better effect - the highlight is probably the last aria from Porpora - and the others all make one wish for recordings of the operas they come from. Many of these are recorded for the first time.

If one is looking for a more rounded view of Senesino's vocal qualities then pick up Nick McGegan and Drew Minter's disc. Scholl fans will buy this disc because of his voice, and newcomers will be interested all the more because of his Last Night at the Proms debut in September.

I couldn't wait to get my hands on this album; I have been a big fan of Andreas Scholl for some time now, I think he is peerless in Bach, and I loved his performance on Handel's Rodelinda DVD from the Glyndebourne production.
However, after listening to this collection several times, I feel it simply lacks punch. The unearthly, angelic beauty of Scholl's voice, coupled with impeccable technique- great runs and what a perfect messa di voce- all this makes for intensely lovely listening experience, yet in many places it is just perfectly beautiful and perfectly boring. I was expecting a little bit more from him this time, but there were many moments when I caught myself bypassing Scholl's voice and tuning my ears to the splendid playing of Accademia Bizantina orchestra instead. I was very taken with his Heroes album, where he gave us great versions of several operatic arias and I was hoping he would scale up the drama here, but when it comes to the work in the recording studio, he's not there yet.
Few arias, notably the ones not written by Handel, show some dramatic colors: Albinoni's Stelle ingrate where Scholl cruises closely to his baritone register, Lotti's Discordi pensieri, and the final aria by Porpora. And old chestnuts like Dove Sei are finally here, but the one I was hoping would be ideal for Scholl, the great Cara Sposa, sounds underpowered. Cara Sposa is for countertenors what O Mio Babbino Caro is for sopranos, most of them get to do it at some point, but this version is just nice, and that's not good enough coming from Mr Rolls Royce of Countertenors. It's smooth and beautiful but then it would be hard to find a piece of music that would not sound beautiful when sung by Scholl. In terms of expressing anything other than the placid loveliness, it has some ways to go.
As a start for Scholl's adventures on Senesino trail, this album also comes short. The selection of arias is a mixed bag, stylistically uneven and not very inspired. Some of these arias are recorded for the first time, points for that, but in these days, many artists go directly to manuscripts and then sell these finds to us with lot more conviction. Also, Scholl's ornamentations are so elegant and understated that they hardly register. The album cover shows a picture of him looking as adorably dorky as usual, but I would like a splash of Senesino's primadonna antics and drama queen persona for a change. More energy, a touch of the divine insanity that Cecilia Bartoli brings to her versions of castrato showpieces... Now that David Daniels and Bejun Mehta have shown us how brilliant countertenors can be in Baroque operas, I wish Scholl would go for broke himself and gave us vivid, absorbing interpretations of these great arias.
If you love Scholl's voice, this album will showcase it very nicely, but don't expect much more than this.

Any excuse to hear Handel's dramatic Italianate music is fine by me, and countertenor Andreas Scholl has aptly chosen to tackle the repertoire of the great castrato Senesino as a means to showcase it as well as works by Alessandro Scarlatti and lesser known Baroque composers. Scholl displays his trademark vocal style on this recording - a smooth, velvety technique that sometimes supplants the dramatic for the ethereal. It's certainly a beautiful voice but one that lacks the requisite theatrical fire and theatrical fervor of his colleague David Daniels to cover the performances of Senesino with true conviction.

Unfortunately the program simply demands a more vivid expression of emotional catharsis than Scholl is willing to share here, and the problem is further compounded by the sheer familiarity of the pieces within the context of the highly charged stories within the operas. A good example of this gap is his version of Bertarido's character-defining lament from "Rodelinda", "Pompe vane di morte! ... Dove sei, amato bene, which sounds far more like an angelic hymn than the melancholy plea of a deposed king. The same lack of awareness for the dramatic text mars his relatively colorless performance of "Dall'ondoso periglio ... Aure, deh per pieta" from "Giulio Cesare" where one has little idea that his character is grieving perhaps prematurely over the loss of a loved one. However, Scholl brings more fire to his rendition of "Al lampo dell'armi" from the same opera. He is also more accomplished on Rinaldo's famous lament, "Cara sposa, amante cara, dove sei?", where the more unfettered romanticism seems more up his alley.

Surprisingly, there is more variety to be experienced with the non-Handel selections - a nice burst of energy on "Stelle ingrate" from Tomaso Albinoni's "Astarto"; a regal "Del ciel sui giri" from Scarlatti's "Carlo re a'Allemagna" with an extended introduction made stirring by the powerful combination of period horns and strings; and the closing track, a truly lovely version of Nicola Popora's "Va per le vene il sangue" from "Il trionfo di Camilla". My favorite of these is "Discordi pensieri" from Antonio Lotti's "Teofane", which seems to play to Scholl's primary strength in evoking lyrical moods rather than dramatic ones. With all the non-Handel selections, he seems less saddled with preconceptions of how the role should be played since the pieces are far less familiar to contemporary audiences.

Led by Ottavio Dantone, who plays the harpsichord with expert precision, the Accademia Bizantina perform the period instruments with genuine feeling, sometimes overwhelming the singer himself. Scholl is a top-rank vocal talent, and aside from the astounding Daniels, the only one who has the leverage to expand the countertenor repertoire. That's why the tinge of "Handel's Greatest Opera Hits" in this recording gives a sense of artistic compromise that highlights Scholl's still evolving abilities for dramatic interpretation. I also think he could have benefited from following soprano Sandrine Piau's example with her stunning "Handel Opera Seria" or mezzo-soprano Cecilia Bartoli's recent masterwork, the impressive "Opera Proibita". In expanding the horizons of Baroque music, both singers chose more obscure - though equally beautiful - selections whether from Handel or his brethren. Otherwise this is simply a performance exalting in its beauty but limited by its commercial sense and lacking the resonance to linger further in one's memory.

There are certainly some Scholl recordings that I anticipate. I'd love to see him record another Handel oratorio with McCreesh, a full-length Handel or Vivaldi opera, a recital of Vivaldi operatic arias, among others. Are you listening, Decca?

The last Scholl recital, Arcadia, featured arias by lesser-known baroque composers. This time around, it seems that Decca wanted a recital that had broader appeal, hence the idea of a Senesino tribute.

The recital begins with two Handel arias, the first being Bel Contento. This is the Scholl we all know and love, his voice as lovely as the springtime. His ravishing tonal beauty is in abundance, and the Accademica Bizantina provides wonderful support.

After such a nice introduction, Scholl coasts through Pompe Vane / Dove Sei?, undoing some of his faultless technique through some rather bland, white-voiced singing. To hear the full potential of this aria, we must turn to Marilyn Horne's interpretation. If you have the chance, listen to her exquisite, fluttering recording of the aria, so different from the go-for-broke Marilyn to whom we are so accustomed.

Scholl is undoubtedly more excited at the prospect of capturing the non-Handel arias. For this reason, he really catches fire in Stelle Ingrate. One of Scholl's greatest vocal qualities is his peerless staccato trill, and Stelle Ingrate is the perfect vehicle to wow us with. We also get more of a sense of his vocal heft. Thankfully, we have a block of five non-Handel arias that are infinitely better for his voice. My other favorite is Del Ciel Sui Giri. The extended introduction is a fascinating blend of horns and strings, showcasing Accademica Bizantina's talents. In the aria proper, Scholl treats us to some amazing, rapid passagework in the repeat of the A part. This is, hands down, the reason I adore Scholl so much.

Scholl revisits Handel with Dall'ondoso Periglio / Aure, Deh, Per Pieta. His delivery of the recitative is more dramatic than before, especially on phrases such as, "Voi dite che io son morto!" Also, he uses a lower register, to thrilling effect. Unfortunately, he confounds us in the aria section. Attempting to sound more dramatic, his fits of excitement keep yielding to that all-purpose beauty that seems to plague him in Handel. In all fairness, this is still Scholl, but it frustrating to hear him hint at dramatic prowess, without taking the plunge.

Al Lampo Dell'Armi is taken at a lightening-quick pace. This would not work on stage, but in the confines of a recital, it becomes a vanity piece for which to showcase again his almighty staccato trill. It beguiles you to hear Scholl unfazed, even at such quick tempi. The purists will cry foul; I, for one, do not think of baroque music as a sacred cow. A little experimentation now and then, in the hands of such a gifted singer, is not a bad thing.

Unfortunately, this bit of bravura is followed by the clunker of the whole set, Cara Sposa. Granted, many great artists have recorded well-known arias that were not suited for their voice, against better judgement. I think of Maria Callas singing the bolero from I Vespri Siciliani, Birgit Nilsson singing O Don Fatale, or Joan Sutherland singing the Queen of the Night's first aria. Such recordings are for the fans only. I, for one, cannot suspend disbelief, where Scholl and Cara Sposa are concerned. In fact, I have yet to listen to the whole of the aria. It doesn't help matters that the PI support is so cautious and polite. Gimme Marilyn Horne, folks!

Thankfully, that woefully misguided interpretation is followed by the melancholy Va Per Le Vene Il Sangue. Again, we are given evidence of how divine Scholl can be when an aria inspires him.

AWESOME CD! Gorgeous, effortless, celestial voice with breath-taking
technical controls as well as greatly expressive and free-flowing.
Anyone not into the unusual countertenor voice will find Andreas's
sound the most natural of all male high singers today, or ever.
A MUST CD for BAROQUE MUSIC LOVERS!

With this superb recording, the great German alto Andreas Scholl ("counter-tenor" if you prefer) has staked out the artistic high ground for all male altos and sopranists. Musically impeccable, with idiomatic control of Italian, it is likely that these renditions far exceed those for which the 18th century castrato Senesino was known. Scholl's singing represents s triumph of technique and musicality unknown in previous centuries, and is leading the way for a long overdue revival of baroque opera. Be sure to get this one!

Theres something very choir-boy-esque about the former choirboy Andreas Scholl. He tends to look appealingly nerdy on most of his album covers, rather like Clark Kent I suppose, but all that goes out of the window when you listen to his voice.

I'm not particularly knowledgeable about classical music, I tend to just listen to stuff I like and ignore most of opera which is too, well, operatic and 'warbly' for me. However, Andreas Scholl's album 'Arias For Senesino' gives an opportunity to hear some of these arias, originally written for the famous castrato Senesino, in a plain and sweet style.

For those who like a lot of vibrato and dynamism in their singers, Andreas Scholl isn't for them. However for people like me who like to listen to pure, sweet sounds without too much distracting other stuff, this album works just fine. I know other reviewers have commented that his treatment of Handel is too dull but I found the whole album very enjoyable. I particularly liked the Dove Sei from Rodelinda (what can I say, I'm new to this stuff, and I love that song; I know it's been done to death but it's still great); there were a couple of tracks that were a bit too lively for my taste although no doubt displaying Scholl's real mastery of singing. This is an album that I know I will listen to multiple times and the more I listen the more intrigued I get by the countertenor voice - somehow a bit eerie when you listen to it, but wonderful too. I recommend this album.

Andreas Scholl has become one of the top stars in opera and concert stage and is probably the best known of the growing cadre of countertenors. He is well represented in the recorded repertoire and yet he continues to find platforms for exploring the music written for this particular voice.

In this fine recital Scholl elects to sing the arias written for the famous countertenor Senesino, a favorite singer of Handel and the one for whom many of the countertenor roles were written. In top form (which is to say in stunning vocal estate and exceptionally fine technique) Scholl offers arias from Handel's operas 'Flavio, Rè di Longobardi', 'Rodelinda, regina de' Langobardi', 'Giulio Cesare in Egitto', and 'Rinaldo' along with Tomaso Albinoni's operas 'Astarto'and 'Engelberta', Scarlatti's 'Carlo re d'Allemagna', with arias by Lotti and Nicola Porpora. It is a splendid display of style and bravura. Scholl is ably accompanied by the Byzantine Academy conducted by Ottavio Dantone.

Though some will contest a few of the choices of arias included here, Scholl's sensitive programming is another aspect of his devotion to his art. This is a major album full of riches. Highly recommended. Grady Harp, February 06

This is an excellent recording of the well known and unknown repertoire of the alto castrato, Senesino. It is a marvellous recording and the singing is magnificent.

Andreas Scholl is still my favourite countertenor and he is in great voice on this recording. The singing is, as always, detailed, subtle, beautiful, stylish, informed and very moving. The 'Cara Sposa' here is a highlight - only David Daniels' impassioned interpretation on his complete recording of Rinaldo can hold a torch to Scholl's. I guess that "Cara sposa" is fast becoming to countertenors what "Casta Diva" is to sopranos?

I like this CD and I know that it is one I am going to listen to a lot in future. However, I already have many interpretations of the Handel arias on other discs by other singers. Scholl's recording is absolutely first class, don't get me wrong, but I just don't want to spend any more money on recitals of Handel arias. I would much rather a singer like Andreas Scholl took a leaf out of Cecilia Bartoli's book (she's another Decca artist, BTW) and record some more interesting unknown repertoire. There must be thousands of wonderful male alto arias in operas by Johann Joseph Fux, Alessandro Scarlatti, Antonio Caldara, Antonio Vivaldi and many, many others gathering dust on library shelves!

I can not and will not buy another recital disc of Handel opera arias - this is well and truly my last, ever!

However, this is a bloody good disc! Andreas Scholl is a living treasure, that's for sure.

First of all,Decca engineers insist on to differentiate "their" Scholl's voice from that more sweet,resounding previous Harmonia Mundi cd's like Bach Cantatas Solo,English Folksongs and so on where it was a pleasure to hear this singer.Even orchestra Bizantina could be better recorded;maybe Milano Auditorium hasn't fine acoustics.However,the same happens on "Heroes" and "Banquett".In this Senesino combo just here,Scholl's voice sounds rough and unpleasant,the top of his range excessive and satured.Second of all,in my opinion,opera isn't his confort zone for good.I believe that as a chorister boy,he grew up in that german musical territory singing sacred music by Buxtehude,Bach,where he did his best on recording.In this cd,I heard his worse;a rugged vocalization plentiful in ha-ha-ha,absolutely abusive that seems dreadful to me("Al lampo dell'armi" for instance),his vocal colours sounding like croacks sometimes,incongruous and dramatically unfruitful attempt to perform repertoire previously recorded by himself like it was a new,fresh one("Dove sei","Aure,deh,...").I'm sorry;I know Scholl fans are very zealous on their idol but I have heard much better Senesinos by Derek Lee Ragin,Daniels,Minter,Gall and so on.