Andreas Scholl - Heroes / Norrington

Andreas Scholl - Heroes / Norrington

Andreas Scholl - Heroes / Norrington
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CD Details

Edition: Music CD
Audio: German (Unknown)
CD Release Date: 1999-05-11
Music Label: Decca
Soundtracks:
  1. Serse, HWV 40: Frondi tenere
  2. Serse, HWV 40: Ombri mai fu
  3. Semele, HWV 58: Where'er You Walk
  4. Saul, HWV 53: Such Haughty Beauties
  5. Saul, HWV 53: Oh Lord, Whose Mercies Numberless
  6. Rodelinda, regina de' Langobardi, HWV 19: Vivi, tiranno!
  7. Rodelinda, regina de' Langobardi, HWV 19: Con rauco mormorio
  8. Giulio Cesare in Egitto, HWV 17: Dall'ondoso periglio
  9. Giulio Cesare in Egitto, HWV 17: Aure, deh, per pieta spirate
  10. Artaserse: Pallido il sole - Andreas Scholl
  11. Orfeo ed Euridice: Che faro senza Euridice ? - Gluck
  12. Ascanio in Alba, K111: Al mio ben mi veggio avanti - Mozart
  13. Telemaco: Ah! non turbi il mio riposo - Gluck
  14. Mitridate, re di Ponto, K87 - 74a: Venga pur, minacci e frema - Mozart

Music reviews of Andreas Scholl - Heroes / Norrington

Music Review: Sick or Abused Animal
Rating: 1 Stars

I only heard Scholl's rendition of "Che faro"--twice on the radio. That was enough if not too much. Once you've heard Maureen Forrester sing it, you won't be able to stomach Scholl's insipid, anemic, freakish squeaking. Forrester sings with a sumptuous voice replete with red corpuscles. Bernarda Fink also does lovely things with "Che faro." Maria Callas sang it in French with feeling--when did she NOT sing with feeling? I even prefer Emmi Leisner's 1928 recording in German. If your pet whined like Scholl, you'd call a veterinarian and demand an emergency house call. If your neighbor's pet whined like Scholl, you'd call the police and demand an investigation for animal abuse.

The program host may have wanted to present a "historically informed" rendition of this aria. At the premier of ORFEO ED EURIDICE a castrato sang it. Many casting directors of early opera think wrongly that a countertenor is an acceptable replacement for the castrato. Today's countertenor is often a baritone singing (or squeaking) in falsetto without vibrato. This is NOT the right voice for operatic music (including oratorios). When other soloists have trained voices with vibrato, the alto should be a female with a trained voice AND vibrato. Otherwise the incongruity sounds ridiculous.

*I once discussed this with an announcer from a classical music radio station. He seemed to agree. I understood him to add that in the castrato's heyday unemasculated males sang falsetto in church choirs. I replied that THAT made sense, that I found the countertenors in my CDs of Palestrina masses not so bothersome. If an unemasculated falsetto singer could have done a castrato's job, wouldn't the castrati have rebelled against the senseless mutilation? Were people of the Age of Enlightenment such fools that, if a falsetto singer from the church choir worked about as well as a castrato, they wouldn't have noticed it? When I buy CDs of pre-1830 virtuostic vocal music, I always verify that the alto soloist is a woman. I don't like the countertenor voice used thus, and I won't pay to hear it.
*Since that conversation I have learned that composer Henry Purcell was a countertenor. Some contemporary accounts describe how beautifully he sang the alto part of one of his CHURCH(!)compositions. He is also said to have sung the bass part of another composition. Like today's countertenor, he may have been a baritone who sang alto in falsetto. He was NOT a castrato--he fathered several children. Let people who really enjoy Scholl's squeaking buy his CDs, of course! However, if they think they are hearing something "historically informed," they are mistaken. Personally, I think their money would be better spent on CD reissues of Maureen Forrester, whose voice of pure butter puts everyone else's to shame. If they want to hear proper use of the countertenor, let them buy CDs of Palestrina Masses in which boys take the upper parts. The countertenor blends beautifully with boys. In fact, female contraltos might sound cloying. If Scholl sang music proper to a countertenor, maybe he would not sound like a sick or kicked puppy dog. I might even enjoy him then.
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Description of Andreas Scholl - Heroes / Norrington

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The gods of musical commerce are smiling on hot young countertenor Andreas Scholl: this is his second CD of opera arias to appear in less than a month. The previous disc, a selection of Handel arias on Harmonia Mundi, showcased Scholl's considerable strengths: subtle and sensitive phrasing, deft coloratura, and a pure, rounded tone with little of the disembodied hootiness that used to be accepted from countertenors. His first recital disc for Decca gives us a wider range of music (Hasse, Gluck, and Mozart as well as Handel) and a more complete representation of Scholl's singing--vices as well as virtues. Among the former are his top notes (sometimes squealy or poorly tuned) and a Joan Sutherland-like combination of beautiful sound with indistinct diction and lack of temperament. This is particularly damaging in the laments from Rodelinda and Giulio Cesare, which come across as mere pleasant pastorales; the famous "Che farņ?" from Gluck's Orfeo ed Euridice sounds self-satisfied rather than bereft. (To be fair, Roger Norrington's jaunty tempos deserve much of the blame for this.) Scholl also aspirates his coloratura, which will bother some listeners more than others. On the other hand, "Oh, Lord, whose mercies numberless" from Handel's Saul is radiant, and the two arias from early Mozart operas are thrilling. In the end, the disc gives a fair, well-rounded picture of an important young singer. Speaking of pictures, by the way, Decca's photographer deserves plaudits for making this tall, somewhat gawky German with Nana Mouskouri glasses look almost glamorous. --Matthew Westphal

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