Purcell: When I am laid in earth (from Dido and Aeneas) (Dido's Lament) - CD

This page lists all recordings of When I am laid in earth (from Dido and Aeneas) (Dido's Lament), by Henry Purcell (1659-95) on CD. Generally, more recent releases are listed first, but with priority given to those that are in stock.

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In War & Peace

In War & Peace

Harmony Through Music


Handel:

Scenes of horror (from Jephtha)

Svegliatevi nel core (from Giulio Cesare)

Pensieri, voi mi tormentate! (from Agrippina)

Lascia ch'io pianga (from Rinaldo)

Augeletti che cantate (from Rinaldo)

Crystal streams in murmurs flowing: Susanna

Da tempeste il legno infranto (from Giulio Cesare)

Jommelli:

Sprezza il furor del vento (from Attila Regolo)

Par che di Giubilo (from Attilio Regolo)

Leo:

Prendi quel ferro, o barbaro! (from Andromaca)

Monteverdi:

Illustratevi, o cieli (from Il ritorno di Ulisse in patria)

Purcell:

They tell us that your mighty powers, Z630

When I am laid in earth (from Dido and Aeneas)

O lead me to some peaceful gloom (from Bonduca or The British Heroine, Z574)

Why should men quarrel? (from The Indian Queen, Z630)


Joyce DiDonato (mezzo)

Il Pomo d'Oro, Maxim Emelyanychev

Watch or read our exclusive interview with Joyce DiDonato about the project here.

“Perhaps my most personal project to date,” is how American mezzo-soprano Joyce DiDonato describes In War and Peace: Harmony through Music. Her ambitions for this collection of arias from Baroque operas are substantial. Surrounded as we are by instability, she hopes it will help us find an answer to a vitally important question: “In the midst of chaos, how do you find peace?”

Her aim is to “steer conversation and discourse … to help all of us find peace in our lives in a dynamic way … As I have tried to convey in this selection of music, the power to bravely tip the scales towards peace lies firmly within every single one of us.”

DiDonato, an opera singer who certainly does not live in an ivory tower, was motivated to assemble the programme after the terrorist attacks in Paris in November 2015. She had been planning an exploratory album with an emphasis on rare arias, but in the light of the tragic events she rethought her approach, giving it wider and deeper implications.

In War and Peace: Harmony through Music was recorded with Il Pomo d’Oro under its principal conductor Maxim Emelyanychev. The programme comprises 15 arias divided into two sections: ‘War’ and ‘Peace’. Both contain music by Purcell and Handel – including, to close ‘War’, Dido’s dignified, but searing lament from Dido and Aeneas and Almirena’s haunting and heartbreaking ‘Lascia ch’io pianga’ from Rinaldo. An excerpt from Monteverdi’s Il ritorno d’Ulisse is included in ‘Peace’, which concludes with Cleopatra’s spirited and defiantly optimistic ‘Da tempeste il legno infranto’ from Giulio Cesare.

A further aria from Giulio Cesare is the bonus track for the album; it is Sesto’s touching apostrophe to hope, ‘Cara speme’, which Joyce DiDonato sings unforgettably on a floating whisper of breath.

In her search for peace and harmony, the American singer did not entirely desert her musicological quest, and the album also contains no fewer than three world premiere recordings: a ‘War’ aria from Andromaca by the Neapolitan composer Leonardo Leo (1694-1744), and two ‘Peace’ arias, from the operas Attila and Attilio Regolo, by another Neapolitan, Niccolò Jommelli (1714-1774).

When Baroque opera was at its height, the highly stylised art form was famously described by the English writer Dr Samuel Johnson as “an exotic and irrational entertainment which has always been combated, and always has prevailed”. It is nearly three centuries since he made that judgement, but opera has continued to prevail – by impassioning performers and thrilling and moving audiences: nothing rivals it in giving intense, compelling expression to matters of life, love and death. Over recent decades, opera of the Baroque era has gained a new and vigorous life, with frequent revivals of works by such masters as Handel, Monteverdi, Vivaldi and Purcell, and the rediscovery of operas by composers who had fallen into obscurity.

Fuelled by these arias, Joyce DiDonato is fervently committed the cause of engaging the hearts and minds of music-lovers around the world. As she leads the way forward, long may opera – and peace – prevail.

“DiDonato brings technical security and a variety of tonal colours to each aria. Il Pomo d’Oro offer bristling accompaniment under principal conductor Maxim Emelyanychev. Purists may quibble here and there, but it’s hard to resist DiDonato’s heartfelt message.” The Guardian, 30th October 2016 ****

“DiDonato is always a force to be reckoned with and there is plenty of dramatic gusto here, as well as vocal fireworks...I found her at her most fiery and persuasive — the same goes for the orchestra — in the three world-premiere recordings, taken from Niccolò Jommelli’s Attilio Régolo and Leonardo Leo’s Andromaca.” The Times, 4th November 2016 ***

“In War & Peace’ finds DiDonato back on Baroque ground for the first time in a while, and it’s a joyful musical homecoming. ...Drama, as ever with DiDonato, is everything. Ornamentation serves narrative first, ego second.” Gramophone Magazine, November 2016

“[In 'Lascia ch’io pianga'] she washes just enough color out of her voice to achieve a purity that enhances the composer’s signature formula of gut-wrenching despair set to music of extraordinary beauty...DiDonato also can rage with the best, hurling words like knives in an aria from Leonardo Leo’s long-forgotten “Andromaca.”” Washington Post, 16th November 2016

“DiDonato kicks up a storm in the war arias and soothes the spirit with lambent tone when she turns to peace. The American mezzo is at the peak of her career. This disc is worth hearing for her radiant singing in Handel’s Susanna alone.” Financial Times, 4th November 2016

“Though the top of her voice is wiry under pressure, her coloratura is tightly sprung, her diction is flawless, and her phrasing of the often underrated poetry is sympathetic and sophisticated…Il Pomo d’Oro plays with Handelian zip under its new director, Maxim Emelyanychev” BBC Music Magazine, Christmas 2016 ****

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Pumeza: Arias

Pumeza: Arias


Catalani:

Ebben? Ne andrò lontana (from La Wally)

Dvorak:

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Fauré:

Après un rêve, Op. 7 No. 1

Gluck:

Che fiero momento (from Orfeo et Euridice)

Hahn, R:

A Chloris

Montsalvatge:

Canción negra No. 2, Punto de Habanera (Siglo XVIII)

Mozart:

Deh vieni, non tardar (from Le nozze di Figaro)

Puccini:

Si, mi chiamano Mimi (from La Bohème)

Senza mamma, o bimbo (from Suor Angelica)

Tu che di gel sei cinta (from Turandot)

Purcell:

When I am laid in earth (from Dido and Aeneas)

Ravel:

Oh! La pitoyable aventure (from L'heure espagnole)

Sarti:

Lungi dal caro bene (from Le gelosie villane)

Tosti:

Si tu le voulais

Yradier:

La Paloma


Pumeza Matshikiza (soprano)

Aarhus Symfonieorkester, Tobias Ringborg

Pumeza’s second album ARIAS is a collection of many of the great opera roles in which Pumeza has blossomed: Mimì in La Boheme; Susanna in Le Nozze di Figaro; Liù in Turandot; Dido in Dido & Aeneas; Concepcion in L’heure espagnole together with such operatic greatest hits as ‘The Song to the Moon’ from Rusalka and ‘Ebben, ne andro lontano’ from La Wally.

The album also features new arrangements of art songs such as Faure’s ‘Après un rêve’ and Reynaldo Hahn’s A Chloris as well as a Rosa Ponselle favourite, Tosti’s ‘Si tu le voulais’

Also included are arrangements of Sarti’s famous aria ‘Lungi del caro bene’ made by DECCA for Renata Tebaldi in the 1970s and recorded here for the first time since then and an arrangement of the classic song ‘La Paloma’ originally made for Victoria de los Angeles.

“Matshikiza’s fresh, even, iridescent tone is ideally weighted for Puccini’s Mimi and Liù…Rusalka’s Song to the Moon is glorious…[and she delivers] a gravely beautiful ‘When I am laid in earth’.” BBC Music Magazine, September 2016 ****

“You would have to be a wally not to be moved by [Matshikiza's] Wally, whose ‘Ebben?...Ne andro lontana’ is delivered with simplicity and sincerity (listen to the wistful frailty of ‘O della madre mia casa gioconda’). Here, her natural ardour, the coppery sheen to her voice and its slightly covered top notes all come off well.” Gramophone Magazine, June 2016

“The verismo arias — Mimi’s entrance number; Ebben? Ne andro lontana, from La Wally; Suor Angelica’s Senza mamma — reveal one of the most luscious sounds we’ve heard from a young soprano in years, and she sings words!” Sunday Times, 8th May 2016

“[Matshikiza] has versatility, range and huge personality. Her voice is rich without heaviness, capable of teasing lightness and flexibility, as the selection here demonstrates.” The Guardian, 15th May 2016 ****

Decca - 4788964

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Leopold Stokowski: The Art of Orchestral Transcription

Leopold Stokowski: The Art of Orchestral Transcription


Bach, J S:

Toccata & Fugue in D minor, BWV565

transcribed for orchestra by Stokowski

Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String')

transcribed for orchestra by Stokowski

Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude

transcribed for orchestra by Stokowski

Wachet auf ruft uns die Stimme

transcribed for orchestra by Stokowski

Buxtehude:

Sarabande and Courante

transcribed for orchestra by Stokowski

Cynthia Millar (ondes martenot)

Byrd:

Pavane and Gigue

transcribed for orchestra by Stokowski

Chopin:

Marche Funebre, Op. 72 No. 2

transcribed for orchestra by Stokowski

Clarke, Jeremiah:

Trumpet Voluntary 'Prince of Denmark's March'

transcribed for orchestra by Stokowski

Patrick Addinall (trumpet)

Franck, C:

Panis Angelicus

transcribed for orchestra by Stokowski

Ippolitov-Ivanov:

In the Manger

transcribed for orchestra by Stokowski

Mozart:

Turkish March

transcribed for orchestra by Stokowski

Mussorgsky:

A Night on the Bare Mountain

transcribed for orchestra by Stokowski

Purcell:

When I am laid in earth (from Dido and Aeneas)

transcribed for orchestra by Stokowski

Shostakovich:

United Nations March

transcribed for orchestra by Stokowski

Sousa:

The Stars and Stripes Forever

transcribed for orchestra by Stokowski

Tchaikovsky:

Andante Cantabile (from String Quartet No. 1 in D Op. 11)

transcribed for orchestra by Stokowski


Matthias Bamert’s distinguished conducting career includes a strong recording relationship with the BBC Philharmonic on Chandos, with famous series ranging from Korngold to Dohnányi.

One is Stokowski’s transcriptions, the greatest of which are gathered on this album. This homage is an inspiring and original musical journey through the most popular pieces of classical music, such as

Mozart’s ‘Turkish March’, Chopin’s ‘Marche funèbre’, and Mussorgsky’s ‘A Night on the Bare Mountain’.

“Bamert brings much commitment to these performances” MusicWeb International, 9th August 2016

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Stokowski: Transcriptions

Stokowski: Transcriptions


Bach, J S:

Sheep May Safely Graze, from Cantata BWV208

Fugue in G minor, BWV578 'Little'

Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String')

Toccata & Fugue in D minor, BWV565

Boccherini:

Minuet in A major from String Quintet Op. 11 No. 5, G275

Mussorgsky:

A Night on the Bare Mountain

Purcell:

When I am laid in earth (from Dido and Aeneas)

Stokowski:

Traditional Slavic Christmas Music

Tchaikovsky:

Solitude ('Again, as before, alone'), Op. 73 No. 6

Wagner:

Das Rheingold: Entrance of the Gods into Valhalla

Die Walküre: Ride of the Valkyries

all tracks arr. Stokowski


Leopold Stokowski was both one of the twentieth century’s greatest conductors and an inveterate orchestral arranger. This compendium features a colourful selection of his transcriptions, which received the highest praise when first released in a series played by the Bournemouth Symphony Orchestra under the distinguished baton of José Serebrier, one-time Associate Conductor to Stokowski himself.

“Listening to these discs in such close succession reminded me of just how much fun these transcriptions are” MusicWeb International, 25th May 2016

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Purcell & Monteverdi: England, My England

Purcell & Monteverdi: England, My England


Monteverdi:

Tirsi e Clori, ballo concertato (Book 7)

L'Orfeo: excerpts

De la bellezza le dovute lodi

Il Ballo delle ingrate

Volgendo il ciel (Ballo ‘Movete')

Purcell:

Sonata for Trumpet and Strings in D major, Z850

The Married Beau: Overture

Sound the trumpet, beat the drum, Z335

In guilty night (Saul and the Witch of Endor), Z134

Adagio (from The Indian Queen)

Fairest Isle (from King Arthur)

Close thine eyes and sleep secure, Z184

When I am laid in earth (from Dido and Aeneas)

Music for the Funeral of Queen Mary, 1695

Rondeau from Abdelazer

King Arthur, Z628: Come, if you dare


Erato Veritas - 2564600374

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Inspired by Song

Inspired by Song


D'Urfey:

The King's Health, to Farrinel's Ground

Dowland:

Flow my teares (Lacrimæ)

Eccles, S:

Divisions upon a ground

Eyck:

Engels nachtegaeltje

Doen Daphne d'over schoone Maeght

Geminiani, F:

Lady Ann Bothwel’s Lament

An Irish Tune

Nussen:

Can Love be controul'd?

Pepusch:

Can Love be controul'd by advice?

Purcell:

When I am laid in earth (from Dido and Aeneas)

Schop, J:

Lacrimae Pavan

trad.:

John come kiss me now

Lady Anne Bothwell’s Lament

When Daphne did from fair Phoebus fly

Faronells Ground

Greensleeves


Dorothee Mields (soprano)

The Gentleman's Band, Stefan Temmingh (recorder & direction)

“They are great tunes of course, and in truth the musical strength and interest often comes more from that than from the quality of the variations, but the full-toned virtuosity of Temmingh's recorder and the creative musicality of his accompanying continuo band...make for an entertaining and often affecting programme.” Gramophone Magazine, August 2014

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Purcell: Music for a While (Standard)

Purcell: Music for a While (Standard)

Improvisations on Purcell


 

Halleluja

(Leonard Cohen) – Bonus Track

Purcell:

Twas within a furlong of Edinburgh Town (from The Mock Marriage, Z605)

Music for a while, Z583

Strike the Viol (from Come Ye Sons of Art, Z323)

An Evening Hymn 'Now that the sun hath veiled his light', Z193

In vain the am'rous flute (from Hail, Bright Cecilia!, Z328)

A Prince of glorious race, from Who can from joy refrain?

O solitude, my sweetest choice, Z406

When I am laid in earth (from Dido and Aeneas)

Wondrous machine

Here the deities approve, Z339

Ah ! Belinda

Hark how the songsters of the grove (from Timon of Athens, Z632)

One charming night (from The Fairy Queen, Z629)

Man that is born of a woman, Z27

Plainte - O, Let Me Weep (from The Fairy Queen, Z629)

Curtain Tune from Timon of Athens Z632


Philippe Jaroussky (countertenor), Raquel Andueza (soprano), Vincenzo Capezzuto (alto), Dominique Visse (countertenor), Gianluigi Trovesi (clarinet) & Wolfgang Muthspiel (acoustic guitar & electric guitar)

L’Arpeggiata, Christina Pluhar

After the intoxicating heat of Mediterraneo, released in 2013, Christina Pluhar and her ensemble L’Arpeggiata – again in the company of countertenor Philippe Jaroussky, soprano Raquel Andueza and alto singer Vincenzo Capezzuto – now head to the cooler climes of England with Music for a while, an album based on the haunting, graceful and sometimes deeply moving music of Henry Purcell.

Often considered England’s greatest composer, Purcell (1659-1695) represents an especially good match for the aesthetic of L’Arpeggiata: he made frequent use of the ground bass, a repeated (ostinato) figure in the lower line – the most famous instance of this occurs in Dido’s lament ‘When I am laid in earth’, the closing number from his opera Dido and Aeneas. The ground bass provides an ideal foundation for the brilliant, sometimes jazz-like improvisation that is the stock-in-trade of the L’Arpeggiata, here comprising singers, (plucked) strings, wind instruments, keyboard and percussion.

As the New York Times has written: “Just as the composers and ensembles that ply the indie path in new music combine structures and language from contemporary classical styles with gestures and timbres from pop and world music, L’Arpeggiata has lately been hopping through cultures and across centuries. The group uses modern pop vocal inflections and improvisational techniques from jazz in its performances of antique pieces ... Its audacious hybrids are driven principally by a fascination with reviving the Baroque art of ornamental extemporization and a curiosity about how contemporary improvisatory styles might be enlisted in that quest.” When L’Arpeggiata appeared at Carnegie Hall’s Zankel auditorium in 2012, the newspaper reported that: “Here a lean septet combined precision and poise with the intuitive flexibility of a jazz combo.”

The contemporary element in Music for a while (named after a song written for John Dryden’s play Oedipus) is exemplified by the contribution, on acoustic and electric guitar, of Austrian jazz-player Wolfgang Muthspiel, while the Baroque tradition is embodied in the celebrated French countertenor Dominique Visse, a singer who set an example for Philippe Jaroussky; Visse was a student of the pioneering British countertenor Alfred Deller (1912-1979), closely associated with the music of Purcell and the revival of interest in Baroque music.

In the course of 2014, Music for a while will be presented at concerts in Rome, Paris, Grenoble, Berlin, Ludwigsburg and London. When the Mediteraneo programme was presented in London in 2013, The Arts Desk reported that: “Perhaps the best bits of any L’Arpeggiata concert are the improvisations. Laying down a ground bass (a riff by any other name) the group then take it in turns to step forward for jazz-style breaks. Jazz might have come down to us via Africa but I defy anyone to hear a Purcell or Monteverdi ground and not trace the natural genealogy. Pluhar here makes her case without effort as we marvel at plucked bass and drums or – most impressive – a percussion solo for the finest wizard of percussion David Mayoral, giving us a single skin that can shriek, cry or sing according to the strokings of his fingers.”

In Germany, the Potsdamer Neueste Nachrichten described a concert given by L’Arpeggiata with Philippe Jaroussky as “a rare two-hour feast of music-making. For years, exulting in sound, [Christina Pluhar and L’Arpeggiata] have been demonstrating in the most persuasive way how fresh and timeless ‘old’ music can sound. Pluhar recognises no borders, no divisions between eras. For her, it is all music.”

“Long experienced in fusing Baroque with jazz-inspired performance styles, L'Arpeggiata's approach breathes new life into the Restoration composer, whose ground basses are akin to riffs, his melodies folk-like in their raw simplicity...Baroque instruments and a jazz-style combo mix to intriguing effect” BBC Music Magazine, June 2014 *****

“most of these songs retain their essential character, and far from having his genius dimmed, Purcell still shines as a writer of songs timelessly receptive to reinterpretation and capable of reaching the heart by the power of melody alone.” Gramophone Magazine, May 2014

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Patricia Petibon: Nouveau Monde

Patricia Petibon: Nouveau Monde

Baroque Arias & Songs


anon.:

Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor (from Codex Martinez Compañon)

Tonada la Lata a voz y bajo, para bailar cantando (from Codex Martinez Compañon)

Mon amy s’en est allé

Tonada la Lata el Congo a voz y bajo para baylar cantando (from Codex Martinez Compañon)

Greensleeves to a ground

Bailly:

Yo soy la locura

Charpentier, M-A:

Quel prix de mon amour (from Medée)

Prélude...Noires filles du Styx (from Medée)

Dieu du Cocyte et des Royaumes sombres (from Medée)

Handel:

No se emendará jamás, HWV 140

Nebra Blasco:

El bajel que no recela (from Vendado es amor, no es ciego)

En amor, pastorcillos, no hay quien distinga (from Vendado es amor, no es ciego)

Purcell:

When I am laid in earth (from Dido and Aeneas)

Fairest Isle (from King Arthur)

Rameau:

Rondeau – Forêts paisibles (from Les Indes Galantes)

Les Indes galantes: Tempête : La nuit couvre les cieux !

trad.:

J’ai vu le loup, le renard et la belette


Patricia Petibon (soprano)

La Cetra Baroque Orchestra, Andrea Marcon

Admired for her remarkable creative imagination and exemplary musicianship, soprano Patricia Petibon, in her newest album for Deutsche Grammophon, offers a treasure-trove of fascinating Baroque curiosities guaranteed to enthral both the Baroque aficionado and the casual listener.

Nouveau Monde is conceived as a journey from the Old to the New World, a spell-binding collection of arias, songs and pieces from European composers (Charpentier, Händel, Rameau, Purcell) that testify to their composers’ fascination with the exoticism of recently-discovered lands, as well as South American folksongs which boast exceptional rhythmic energy and colour

Spectacularly accompanied by the La Cetra Baroque Orchestra under the excelling direction of Andrea Marcon – who also stands out as a Baroque organist and harpsichordist - Patricia enchants our senses with a mélange of 17th-century arias and folk songs from England, France, Spain, and Latin America

As a follow-up to her best-selling Rosso and Melancolía albums, Patricia Petibon’s 2012 release is guaranteed to be one of the most popular and sought-after Baroque releases of the year

“Conquest is one theme, confession another; the whole a breakneck A-Z of Baroque song from airs de cours to zarzuela.” BBC Music Magazine, Christmas 2012 ****

“'Nouveau Monde' is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/compiler, most atmospherically recorded. Compulsive, repeatable listening.” Gramophone Magazine, January 2013

GGramophone Magazine

Editor's Choice - January 2013

DG - 4790079

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Andreas Scholl: Purcell - O Solitude

Andreas Scholl: Purcell - O Solitude


Purcell:

If music be the food of love, Z379

Sound the trumpet, beat the drum, Z335

with Christophe Dumaux (countertenor)

Strike the Viol (from Come Ye Sons of Art, Z323)

Fairest Isle (from King Arthur)

Chacony, Z628

What power art thou? (from King Arthur, Z628)

Chacony in G minor - for Two Violins, Viola and Bass Z730

One charming night (from The Fairy Queen, Z629)

Sweeter than Roses (from Pausanius, the Betrayer of his Country, Z585)

[Pausanius, the Betrayer of his Country. (1695), Z585 original version]

An Evening Hymn 'Now that the sun hath veiled his light', Z193

Pavan for Three Violins and Bass in G minor - Z752

O solitude, my sweetest choice, Z406

O dive custos Auriacae domus, Z504

with Christophe Dumaux (countertenor)

Music for a while, Z583

Here the deities approve, Z339

original version

The Gordion Knot Untied - incidental music, Z597

When I am laid in earth (from Dido and Aeneas)


Andreas Scholl (countertenor)

Accademia Bizantina, Stefano Montanari

The greatest countertenor of today, Andreas Scholl returns to the Decca label with a recording of vocal jewels by the great baroque composer, Henry Purcell. This is Andreas Scholl's first ever recording of the music of Purcell and his uniquely beautiful voice is perfectly suited to the English composer's plangent melodies. The album includes pieces written for the stage, the church and the private chamber, some of which Andreas Scholl has sung in recital for many years, and some he sings for the first time.

Andreas Scholl's long-standing collaborators, ‘Accademia Bizantina’ bring out the Italian influence in Purcell's instrumental writing, and contribute orchestral items to the programme. 'O Solitude' is Andreas Scholl's first Decca album since the chart-topping ‘Handel: Arias For Senesino' in 2006.

The album includes the well known lament 'When I Am Laid In Earth' - recently voted the UK's No.1 favourite aria in a BBC Radio 3 poll - written for the character of Dido in Purcell's opera, Dido and Aeneas.

Andreas Scholl is joined for two duets by French countertenor Christophe Dumaux.

“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

BBC Music Magazine Awards 2012

Vocal Award Winner

Decca - 4782262

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Favourite Baroque Arias

Favourite Baroque Arias


Bach, J S:

Sheep May Safely Graze, from Cantata BWV208

Handel:

Ode for St Cecilia's Day: The trumpet's loud clangor

Ombra mai fu (from Serse)

Semele: Where'er you walk

O ruddier than the Cherry (from Acis and Galatea)

Joshua: Heroes, when with glory burning

Jephtha: Waft her, angels, through the skies

Alexander's Feast: Revenge, revenge, Timotheus cries

Samson: How willing my paternal love

Samson: Let the bright seraphim

Purcell:

When I am laid in earth (from Dido and Aeneas)

Vivaldi:

Sol da te, mio dolce amore (from Orlando furioso)

Weldon:

Arise ye subterranean winds


John-Mark Ainsley, Gillian Fisher, Michael George & James Bowman

King’s Consort, Robert King

Alto - ALC1102

(CD)

$6.25

In stock - usually despatched within 1 working day.

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