Purcell: The Gordion Knot Untied - incidental music, Z597

“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

“This is an absolutely 'must' for Purcell collectors, and as attractive a distraction for more general listening as it was to 17th-century theatre audiences.” BBC Music Magazine, August 2008 ****

“Worthy, professional and instinctively stylish but somewhat under-explored performances.” Gramophone Magazine, May 2008

“All these works were published within 18 months of Purcell's death. The 13 suites of choice movements from plays and semi-operas, entitled A Collection of Ayres, compos'd for theTheatre, and upon other occasions, may well have been the editing work of Purcell's brother, Daniel.
Whoever it was had a rare combination of musical integrity and commercial flair: the pieces lifted from Purcell's interpolations to plays are often reordered and arranged with a deftness and charm which conveys the spirit of the theatre as well as heightening the loss and poignancy of Purcell's passing. How moving the Rondeau Minuet from The Gordian KnotUnty'd must have seemed to those who knew and loved Purcell.
As a major retrospective of Purcell's life in the theatre, the Ayres for the Theatre mainly comprise instrumental dances from their original sources, though there are several movements readapted from sung airs, such as 'Fairest isle' from King Arthur and 'If love's a sweet passion' from The Fairy Queen. The tunes are wonderful and varied, the inner part-writing skilful and the rhythmic imagination knows no bounds.
Even so, this isn't music where more than a suite at a time can be recommended for ultimate satisfaction: stop while you still want more. And more you'll most certainly want with Roy Goodman's alert and distinctive direction. If a few of the movements sound a touch mundane and lack dynamism as one follows on from another, the positive side is that the performances are never forced and rarely mannered. For the semi-opera 'suites', Goodman employs a full orchestra. What The Parley of Instruments has in abundance is a cordiality of expression which seems so absolutely right, especially in the slower airs.” Gramophone Classical Music Guide, 2010

“Ayres for the Theatre is a wonderful collection of rich and varied, tuneful music and has been marvellously well recorded” Gramophone Magazine

“The performances by Goodman and the authentic Parley of Instruments are thoroughly alive, stylish and responsive to the composer's ready invention. The recording is in every way pleasing, clear, yet full-bodied.” Penguin Guide, 2011 edition