Handel: Concerto grosso in C, HWV 318 'Alexander's Feast'

“Handel recitals do not come much better than this... Glorious music, superlative singing.” The Telegraph

“Scholl at his inimitable best: superbly accomplished and fully inside each character in turn.” BBC Music Magazine

“Here is another guaranteed hit for this justifiably acclaimed German countertenor.” The Observer

“The highlights are the Serse, Alcina and Cesare arias: Handel doesn't come lovelier than this.” Sunday Times

“Scholl is pre-eminent among today's countertenors for the fine quality, roundness and power of his voice as well as for the artistry of its usage. In this new recital, the sheer opulence of tone impresses afresh, and its firmness make the more dramatic vibrancy of Daniel's seem somewhat loosely focused... the recitative in Admento shudders with the hopelessness of 'omai tornate', and, in the solo from Rodelinda, Bertardio confronts his own epitaph with convincing emotion.” Gramophone Magazine

“Four first recordings with some highly original scorings are included in this attractive 'Grand Tour'.” BBC Music Magazine, November 2012 ****

“The first disc of the ever-fresh Op 6 Concertigrossi includes the oboe parts that Handel later added to Nos 1, 2, 5 and 6. The performances are brimful of vitality, and the clean articulation and light, predominantly detached style give the music buoyancy and help to bring out Handel's often mischievous twinkle in the eye. Speeds are generally brisk, with boldly vigorous playing, but Standage's team can also spin a tranquil broad line. Dynamics throughout are subtly graded, and except in one final cadence ornamentation is confined to small cadential trills.
On the second disc, except, in the sombre colours in the splendid G minor Concerto (No 6) – here with oboe and the agreeable addition of a theorbo to the continuo – there's a general air of cheerfulness that's most engaging. The fugue in No 7 is wittily buoyant, the Allegro in No 9, borrowed from the Cuckoo and the nightingale Organ Concerto, could scarcely be more high-spirited, the final Passepied of No 6 and the Hornpipe of No 7 are spring-toed; and Standage's feeling for convincing tempos is nowhere better shown than in the long Musette of No 6, which in other hands can drag. Phrasing everywhere is shapely, and the surprise chords that interrupt the flow of No 8's Allemande are admirably 'placed'.
On the final disc the playing is always on its toes – positively twinkling in dance movements such as the concluding fugal gigue of No 12.
The last two concertos, No 11 in particular, give Simon Standage an opportunity to shine as a soloist; his ad lib sections are tastefully done, without excesses; his semiquavers in the variants of the A major Andante are feather-light. All dynamics are well contrasted in a natural way, and the tempos nicely judged; a slightly faster repeat of the first half of No 10's fifth movement suggests the splicing of a different take. As a fillup, we're presented with the Alexander's Feast concerto grosso, for which the string group is joined by oboes and bassoon. The excellent concertino of two violins and cello is thrown into high relief and the Allegro movements are performed with a delightful spring.” Gramophone Classical Music Guide, 2010