Customer Reviews

Vivaldi: Nisi Dominus & Motets / Scholl

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The James Bowman/Academy of Ancient Music/Christopher Hogwood recording of Vivaldi's "Nisi Dominus" has been the unassailably supreme amongst many since the late 1970s - now it has been brutally and irretrievably summoned to contest by this beguiling recording of Andreas Scholl. Lie down, close your eyes, be still, empty your mind, and then listen to track 4 ("Cum dederit delictis suis somnum ...."). This is probably what mediaeval theologians would have described as an instance of celestial "irruption" into our dreary temporal existence. In this passage Andreas Scholl sounds like an angel from the most exalted realms of heaven - he manifests a truly preternatural musical instinct and understanding that beggars the imagination and overwhelms even after repeated listening.

I have long loved Michael Chance's Nisi Dominus but Scholl's reading of it takes us very close to what I imagine was Vivaldi's musico-religious concept. This ancient Hebrew Psalm is used by the Church at Midday Prayer, and describes the fulfilled happiness of one who befriends and relies on God. With Scholl and Dyer, the Cum Dederit stanza reaches into one's very soul. Vivaldi's deployment of watery barcarolle supports most beautifully the metaphor of lovingly-indulged midday (!) rest for the Lord's beloved ones upon whom (in the Grail English translation, which tries to be faithful to the ancient Hebrew rhythm) He showers gifts and fruitfulness even while they are sleeping, in contrast to the listener/pray-er who depends solely on vain toil. The sleepy, God-given peacefulness of this verse as portrayed by Scholl and Dyer is a tremendous musical achievement which I cannot imagine being surpassed. Doctors should prescribe it to ameliorate the stress of the rat-race. Speaking of which, the briskness and attack of the Psalm's first verse reflect, for me, the bustle of Vivaldi's Venice: noisy with builders and merchants rushing about looking for a profit.

I find these interpretations by Dyer and Scholl almost beyond words. Scholl achieves new heights of technical and musical finesse, clearly the fruit of an exceptional collaboration. His instinct that he "must" do this with the Brandenburg was obviously well-founded and my respect for his musical judgement increases accordingly. I even take my hat off to Decca despite their delaying release (why?) in the UK until September 2000. Until now I have not liked the approach of their recording engineers to his voice but this time they are up to Harmonia Mundi standards. (A huge compliment. I was very sad when he left HM.)

I have been waiting in vain for Andreas Scholl to record Purcell, but if he produces this sort of thing while I am waiting, I'll happily keep on waiting.

I place Andreas Scholl in the same stratosphere as Joan Sutherland and Montserrat Caballe, artists that at their very best can make you weep with joy.

This recital came after Scholl's debut recital for Decca, called Heroes. It seems that with Heroes, Andreas was trying to adopt a more vibrato-laden, operatic style. Those familiar with his earlier recordings for Harmonia Mundi undoubtedly noticed the difference. I, for one, was not quite happy with the "new" Scholl; however, with this recital, he reminded all of us what all the fuss was about.

The past year has witnessed an awakened interest in Vivaldi's music, particularly his operas. This recital, Nisi Dominus, features religious music, and it is utterly sublime. The moods range from dark and pensive to jubilant, and Andreas Scholl captures each one perfectly. The voice is like liquid gold.

I strongly urge anyone with a taste for Vivaldi to discover this recital.

This is the best record Andreas Scholl made until now. Listen to his records of 1997 or earlier, you can clearly hear how much he has developed his voice and technics. Andreas is a great talent, I wonder how good he will get within the coming ten years. The combination with the Paul Dyer orcherstra is very nice. Andreas is a worthy new member of the 'Vlaamse school' of which Philippe Herreweghe is the most prominent. Andreas has developed is own style and still is perfecting this, he does withstand the temptation to sing in some old fashioned Italian opera like style. One setback is the technical quality of the recording. Although the recording sound quality is very good, the recording level is about 20 dB too low. On many cd-players the output is so low that the sound is not optimal due to unideal sound level / noise curves. On some cd-players the cd will not play at all, specially the German pressing, the USA one is slightly better. Hans Hilberink.

I first heard Andreas Scholl's voice from my roommate's copy of Pergolesi's Stabat Mater and was totally captivated by Mr. Scholl's amazing voice. I went out and bought this CD and was not at all disappointed. The Nisi Dominus pieces are just amazing. In fact, I liked it so much I went out and bought more of Andreas Scholl's CDs. I highly recommend this CD to everyone.

AN EXCELLENT RENDITION OF VIVALDI; JUST NOT MY FAVORITE!

About half of Vivaldi's sacred vocal music was written for solo voice. His 'Nisi Domimus' in G minor,RV608, is a comparatively rare example of a Vesper psalm set for solo voice. It is not known for what occasion this was composed, but the setting is remarkable for its variety of style and mood.

The 'Salve Regina' in C minor,RV616,is one of two settings for alto and double orchestra. The liturgical text for this delicately beautiful composition belongs to one of the four Great Antiphons sung at the end of Vespers.

"Clarie stellae,scintillate,Rv625" is a motet written for performance on the Feast of the Visitation of the Blessed Virgin Mary (July 2).

"Vestro Principi divino",RV633, is an exhortation to receive the risen Christ, written for performance at the close of Holy Week.

The recording also includes two concerti a quattro(concertos for strings in four parts). To my mind, Paul Dyer and the Australian Brandenburg Orchestra do a fine job interpreting and performing the music of Vivaldi. While Andreas Scholl does his usual accurate and good singing, keep in mind that there are other countertenors who have recorded this music, particularly the 'Salve Regina' and the 'Nisi Dominus'. They are Michael Chance and David Daniels, who also do a very fine job of it. I think it does depend on which type of countertenor you prefer.

This is the best record Andreas Scholl made until now. Listen to his records of 1997 or earlier, you can clearly hear how much he has developed his voice and technics. Andreas is a great talent, I wonder how good he will get within the coming ten years. The combination with the Paul Dyer orcherstra is very nice. Andreas is a worthy new member of the 'Vlaamse school' of which Philippe Herreweghe is the most prominent. Andreas has developed is own style and still is perfecting this, he does withstand the temptation to sing in some old fashioned Italian opera like style. One setback is the technical quality of the recording. Although the recording sound quality is very good, the recording level is about 20 dB too low. On many cd-players the output is so low that the sound is not optimal due to unideal sound level / noise curves. On some cd-players the cd will not play at all, specially the German pressing, the USA one is slightly better. Hans Hilberink.

i never like to hear any counter-tenor before i hear this album. andreas scholl really make me realize that what a wonderful altos sound can be. this album has make a wonderful dream. and i surely my choice for the best gramophone record of the year. good job scholl. i love u, thanks.

I live in Brazil and I am very satisfied with the purchases I made on this site. I urge all consumers. Thank you.

First things first, The Australian Brandenburg Orchestra is a very good ensemble but they are no "Concerto Italiano"...not even close. The playing is stylish enough, but they lack the bite and panache of the peerless italians. Scholl sings exquisitely, but the Nisi Dominus can be more exciting. Do please look for Teresa Berganza's sensational recording in the ENSAYO label, not even Scholl comes close. Also the French countertenor Gerard Lesne recorded a better version with Il Seminario Musicale. Pity that Scholl didn't get more help from his new record company, he used to make far finer records for Harmonia Mundi.