I received it some time back, and I have been entranced by this jewel of a cd since. I keep putting off writing about it, as some impressions are always a bit hard to express. After all I'm just a music lover, so I hesitate in anything like commenting in any sort of definitive (i.e, written and public) format. On the other hand, I really need to tell the world how much I'm enjoying this music! And we are among friends, aren't we?
Anyone who knows me is already aware of the fact that I've been said to be a die hard Scholl fan. This cd proves that I have plenty of reasons to be one. He has talent and one of the most strikingly beautiful voices you'll ever hear. This wonderful sound of his is also very flexible and expressive - possibly one of the cleanest examples of singing around (all so immaculate and clear, but still transmitting such a sense of ease all the while). I had been thinking of late his voice had gained in power, expression and volume, had acquired an increasingly manly edge by losing some of his former purity and sweetness of tone. That was not meant as criticism - he's awesome as he ever was, but I did notice that change. Forget about it. In this new cd you get all Scholl voices, past, present and future, and it is enough to stop anyone's breath, no matter how many times you play it. That sweetness is still there - in the subdued tones seeking for the sorely missed beloved in "Dove Sei" (Handel), or in the plea for merciful release from disquieting thoughts in "Discordi Pensieri" (Lotti) - such moving, despairing appeal! So it is present in "Selvagge Amenita" (Albinoni) - a delightful illustration of the Beatus Ille topic, made by the very sweetness of the voice into as peaceful and contented a refuge as any you might ever have wished for.
So is it sweetness everything Scholl has to offer in his singing? By no means. Are you one for agility and vocal fireworks? You can enjoy the finest examples to your heart's content in here, starting with "Stelle Ingrate" (Albinoni) . Not a single feature missing - be it speed or detailed note-by-note embellishments, Scholl will go through them with his characteristic perfect ease. You might suffer in hearing others sing "Al lampo dell' armi" (Handel) at such a breakneck pace - as if they were just about to commit a mistake, as if they couldn't quite reach their goal. On the contrary, you find yourself thinking whether it is really that hard to achieve such clear articulation. You need to stop and listen carefully to realise that it is his voice that makes it sound so roundly effortless.
I had doubted his choice of repertoire - I thought (oh faithless me!) what was he thinking about in recording yet another typical cd for countertenors with yet more castrati arias. He was even re-recording some pieces ("Dove sei", "Al lampo dell' armi", and "Aure, deh, per pieta", and their recitatives). Now everything seems clear. However unbelievable it may sound, the man has surpassed himself - his previous performances of these pieces, finest examples yesterday, sound so raw side by side with the new versions. Amazing. Now there seems to be no shade in the widest range of human feelings he cannot express - be it fury, pity, defeat, despair, love.
I'll take my hat to him. My wig as well, if I wore one. There's hardly anything else I can say. This has become my official favourite of the year. Dear friends, beware, you already know what you're getting as gifts on miscellaneous occasions!
I only regret I did not take the chance to go and listen him live his new repertoire. As you know I am seeing Magdalena Kozena and David Daniels at the Barbican in November. Of course I'm really looking forward to it - but a small part of me wishes it were Scholl and Arias for Senesino. I might have to stop listening to it a couple of weeks before the concert if I want to enjoy it fully! I've always avoided comparing Scholl and Daniels - so I'm not starting now, am I?
So do get focused, Tonks. David Daniels it'll be, David Daniels!
Anyone who knows me is already aware of the fact that I've been said to be a die hard Scholl fan. This cd proves that I have plenty of reasons to be one. He has talent and one of the most strikingly beautiful voices you'll ever hear. This wonderful sound of his is also very flexible and expressive - possibly one of the cleanest examples of singing around (all so immaculate and clear, but still transmitting such a sense of ease all the while). I had been thinking of late his voice had gained in power, expression and volume, had acquired an increasingly manly edge by losing some of his former purity and sweetness of tone. That was not meant as criticism - he's awesome as he ever was, but I did notice that change. Forget about it. In this new cd you get all Scholl voices, past, present and future, and it is enough to stop anyone's breath, no matter how many times you play it. That sweetness is still there - in the subdued tones seeking for the sorely missed beloved in "Dove Sei" (Handel), or in the plea for merciful release from disquieting thoughts in "Discordi Pensieri" (Lotti) - such moving, despairing appeal! So it is present in "Selvagge Amenita" (Albinoni) - a delightful illustration of the Beatus Ille topic, made by the very sweetness of the voice into as peaceful and contented a refuge as any you might ever have wished for.
So is it sweetness everything Scholl has to offer in his singing? By no means. Are you one for agility and vocal fireworks? You can enjoy the finest examples to your heart's content in here, starting with "Stelle Ingrate" (Albinoni) . Not a single feature missing - be it speed or detailed note-by-note embellishments, Scholl will go through them with his characteristic perfect ease. You might suffer in hearing others sing "Al lampo dell' armi" (Handel) at such a breakneck pace - as if they were just about to commit a mistake, as if they couldn't quite reach their goal. On the contrary, you find yourself thinking whether it is really that hard to achieve such clear articulation. You need to stop and listen carefully to realise that it is his voice that makes it sound so roundly effortless.
I had doubted his choice of repertoire - I thought (oh faithless me!) what was he thinking about in recording yet another typical cd for countertenors with yet more castrati arias. He was even re-recording some pieces ("Dove sei", "Al lampo dell' armi", and "Aure, deh, per pieta", and their recitatives). Now everything seems clear. However unbelievable it may sound, the man has surpassed himself - his previous performances of these pieces, finest examples yesterday, sound so raw side by side with the new versions. Amazing. Now there seems to be no shade in the widest range of human feelings he cannot express - be it fury, pity, defeat, despair, love.
I'll take my hat to him. My wig as well, if I wore one. There's hardly anything else I can say. This has become my official favourite of the year. Dear friends, beware, you already know what you're getting as gifts on miscellaneous occasions!
I only regret I did not take the chance to go and listen him live his new repertoire. As you know I am seeing Magdalena Kozena and David Daniels at the Barbican in November. Of course I'm really looking forward to it - but a small part of me wishes it were Scholl and Arias for Senesino. I might have to stop listening to it a couple of weeks before the concert if I want to enjoy it fully! I've always avoided comparing Scholl and Daniels - so I'm not starting now, am I?
So do get focused, Tonks. David Daniels it'll be, David Daniels!
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