Andreas Scholl

“Scholl is seeking out that place in German Lieder where folksong seems to transmute into art song: simplicity is all, and the Brahms songs are performed with virtually no interpretative gloss, allowing words to speak purely through the register and harmonic underlay of their setting.” BBC Music Magazine, January 2013 ****

“Scholl brings the same commitment to the Classical and Romantic repertory as he does to Purcell and Dowland. His priorities, as he states on the packaging, are 'simplicity and sincerity'...As a recitalist, Scholl is less a story-teller than a weaver of spells, unleashing a fully conceived emotional state and sustaining it.” Gramophone Magazine, January 2013

“On one level Wanderer gives the listener abundant pleasure...Scholl’s diligent phrasing, purity of tone and lack of tricks bring...rewards...His piano partner, Tamar Halperin, is deft and poetic...Listen a little deeper, though, and limits to this pleasure emerge. Up at the top of Scholl’s register the more the voice seems trapped in a narrow pipe with no room for clear articulation of words or subtle changes of colour and weight.” The Times, 2nd November 2012 ***

“Scholl's typically poised delivery eschew[s] the dramatic stridency to which some countertenors are prone.” The Independent, 6th January 2012 ****

“His relationship with the composer's music remains intense, alert and humble: he has spoken of his own sense of inadequacy in performing works he has known since childhood. Despite being a superstar, the German countertenor's integrity remains intact. His account of Cantata BWV 82, "Ich habe genug" is spellbinding in its expressive simplicity and daringly slow tempi.” The Observer, 8th January 2012

“Scholl imbibed Bach with his mother’s milk, and here he distils the balm of two of the composer’s most intimate, uplifting cantatas, “Ich habe genug” and “Gott soll allein mein Herze haben”. Each underscores Scholl’s stylistic naturalness and lyrical fluency, showcasing the heavenly sostenutos for which he is celebrated – but the disc’s “fillers” are flimsy.” Financial Times, 7th January 2012 ****

“With probably the most beautiful countertenor sound in the world, Andreas Scholl always beguiles the ear. But I found this Bach selection almost soporific in places...Best of all is Schlage doch with, of all things, tinkling bells. But this cantata turns out to be by Georg Melchior Hoffmann, not Bach.” The Times, 7th January 2012 ***

“A coupling of two of Bach’s best-loved solo cantatas...provides a showcase for Andreas Scholl’s delicately refined artistry and ethereally beautiful voice. But his is a dreamily sensual and almost childlike interpretation, devoid of much in the way of spiritual urgency, and the tension slackens in the longer arias.” The Telegraph, 13th January 2012

“Scholl's highly distinctive voice, with its clarity, poise and quiet control, makes it an ideal vehicle for reflective Bach. The gentle rocking of 'Schlummert ein' (from BWV 82) would coax the most anxious 'weary eyes [to] sleep'...In the final, joyful anticipation of death, Scholl's lively facility is exhilarating.” BBC Music Magazine, March 2012 ****

“Scholl's compassionate use of words and melodic sweetness in 'Schlummert ein' is the best recorded work he has produced for years.” Gramophone Magazine, April 2012

“It's an intriguing and enjoyable programme...The English Concert provides suitable support throughout, from solo theorbo on Dowland's "What if I never speed?" to the trio of harpsichord, theorbo and viola da gamba with her delightful duet with counter-tenor Andreas Scholl” The Independent, 10th June 2011 ****

“This is a charming recital that shows this popular soprano at her best...she has plenty of vivacity and fresh-toned sweetness. Guardian Angels, from Handel’s “The Triumph of Time and Truth”, is a highlight: a little-known but beautiful aria, sung here with poise and allure.” The Telegraph, 7th July 2011 ****

“she keeps things light on this disc, and for the greater part only shows off her many splendid advantages. Indeed, her flirtatious performance of the famous lute-song Come again can rank as one of the most captivating on disc. The duets with Scholl are a delight too. De Niese's sheer joy in singing leaps off the CD and her emotional immediacy is hard to resist.” Classic FM Magazine, August 2011 ****

“In Dowland's Come again, sweet love doth now invite and What if I never speed?, she sounds like a sexier Emma Kirkby...The English Concert under its Music Director Harry Bicket provides the stylish orchestral and instrumental backing...You really hear the personality behind the voice - the 'Beauty of the Baroque' is, without question, a real artist.” International Record Review, July/August 2011

“Ethereal yet visceral, Scholl's voice is the dream vehicle for Purcell...Stefano Montanari coaxes thrilling playing from Accademia Bizantina, who dance and swagger, throb and pulsate with true Latin passion. Their continuo realisations - here delicate and intimate, there audaciously jazzy - are an unceasing delight.” BBC Music Magazine, January 2011 *****

“that famously otherworldly tone [is] often breathtakingly in evidence...His decision to tackle Dido's lament has generated controversy: in fact, his performance is extraordinarily haunting...O Dive Custos is arguably the disc's high point. The Academia Bizantina, meanwhile, are on fine form for Stefano Montanari” The Guardian, 13th January 2011 ****

“Scholl understands the importance of words and remains the countertenor of choice: it’s not so much the intelligence and grace that make his artistry so instantly recognisable, as the hypnotically soothing quality of his voice...Among the many joys of this exceptional recital are the accompaniments by Accademia Bizantina.” Financial Times, 21st January 2011 *****

“Few counter-tenors maintain the width of repertoire or vocal acumen of this artist...his Cold Song from “King Arthur” [is] a shivering, juddering triumph, and the entire package pleases.” The Times, 22nd January 2011 ****

“his way with words has strengthened...the two countertenors combine marvellously in O dive custos” Gramophone Magazine, March 2011

“There's no doubt about the theatrical intent driving Scholl's interpretations and the flamboyant work of Italian period instrument band, Accademia Bizantina. The latter's lively continuo group and multi-hued sounds certainly catch the full flavour...few singers...can match him for style and intelligent musicianship in this repertoire.” Classic FM Magazine, March 2011 ****

“[The disc] contains much in the way of sympathetic vocal and instrumental colouring, not to mention some very fine singing and playing, full-stop...Stefano Montanari's stylish violin-playing [in Fairest Isle], as elsewhere, is a treat in itself...Scholl [brings] an animated, urgent quality to his performance, the tone rich and resonant, the diction razor-sharp.” International Record Review, April 2011