Everybody’s talkin’ about Andreas Scholl
Alex Ross, author and music critic of The New Yorker, must be an Andreas Scholl fan. Currently in Australia with the Australian Chamber Orchestra, it was gratifying to note that he used a number of Scholl’s recordings to illustrate his pre-concert talks.
The positive reviews continue to come in. Opera Britannia writes:
“Purcell’s Music for a while (part of the incidental music for Lee and Dryden’s Oedipus) was the ideal opener, in terms of its text, and in setting an appropriate mood. It highlighted Scholl’s vocal control, precision, clarity of English diction, effective shaping of the words and general expressivity… Evening Hymn contrasted with the two more secular previous songs, with golden high melismas showing Scholl’s smooth legato… Nel dolce tempo (HWV 135) is one of the better known of Handel’s early Italian cantatas, and is known in both alto and soprano versions. Again Scholl displayed his mastery of the genre, with perfect diction, voice control, legato and gorgeous messa di voce, and also his ability to dramatise a work, in this instance acting out the responses of both shepherd and shepherdess.”
Read the full review here.
Musica Viva has also had a number of calls and emails enquiring about Scholl’s encore, the beautiful Ombra Mai Fu from Handel’s Opera Xerxes.
But for now, let’s leave the final word to Andreas himself, as related in Limelight Magazine. Shirley Apthorp writes:
In the course of a long conversation, Scholl returns again and again to fundamental philosophical questions. “Why am I a singer? What is my function in society, in life, in the universe, in relation to God and art? The answer to that question will probably change throughout your life,” he says.
Click here to see how Scholl answers those questions.