Handel: Pompe vane di morte! (from Rodelinda)

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

“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

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

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

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

“Sheer delight from first bar to last.” BBC Music Magazine

“Here is a countertenor who, for once, gives an inkling of what the castrato voice did for Handel and his music ... Every track is a winner on this disc. More please.” Sunday Times

“The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these David Daniels can certainly be counted as a leading contender. He displays and deploys his talent here in a wide range of arias reflective and dramatic. His amazing technique runs through Tamerlano's virtuoso 'A dispetto' and Bertarido's 'Vivi tiranno!' without a blemish in the sound and with every division in its place yet part of a confidently delivered whole: by and large Daniels's runs and embellishments are smoothly accomplished. In more reflective pieces such as Giulio Cesare's 'Aure, deh, per pietà' (he also tackles Sesto's 'Cara speme' from Giulio Cesare, a particularly liquid, subtle piece of singing), Bertarido's 'Dove sei?' and Ariodante's sad lament, 'Scherza infida', written for the great Senesino, he uses his impeccable Italian to express wide-ranging emotions. Throughout, Roger Norrington and the Orchestra of the Age of Enlightenment give excellent support. The recording is blameless so there's every reason for readers to sample this fine exposition of the countertenor's art.” Gramophone Classical Music Guide, 2010

“…Andreas Scholl… has developed the confidence and showmanship of a seasoned dramatic artist. Scholl's collaboration with Accademia Bizantina is proving to be a fruitful one which has breathed life into some of the forgotten delights of Baroque music. Ottavio Dantone coaxes some thrilling playing from the ensemble, combining refined lyricism with flamboyant virtuosity in true Italian style.” BBC Music Magazine, September 2005 ****

“Scholl sings this stunningly, the reams of coloratura dazzlingly even yet never mechanical, and delivered on seemingly inexhaustible reserves of breath. …it is the slower, soulful numbers that remain longest in the memory, above all 'Cara Sposa' and the scenas from Rodelinda and Giulio Cesare. The grace and intensity of the singing are matched by vivid accompaniments from Ottavio Dantone's period band, and caught in a sympathetic acoustic. Enthusiastically recommended.” Gramophone Magazine, Awards Issue 2005