Andreas Scholl Nisi Dominus

Lars Ulrik Mortensen, Concerto Copenhagen, Inger Dam-Jensen, Andreas Scholl - Handel: Partenope (2009)

Lars Ulrik Mortensen, Concerto Copenhagen, Inger Dam-Jensen, Andreas Scholl - Handel: Partenope (2009)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | 187 min | 4.87+6.73 Gb (2xDVD9)
Classical | Label: DECCA | Sub: English, Francais, Deutsch, Italiano, Espanol, Dansk | Recorded: 2008

Mortensen's magnificent direction brings out the full measure of excitement, pathos and emotion in Handel's score…[the production] conveys an enormous amount of what makes Partenope very special.
–Gramophone
Julia Lezhneva - Vivaldi: Gloria - Nisi Dominus - Nulla in mundo pax (2018) [Official Digital Download 24/96]

Julia Lezhneva, Franco Fagioli, Diego Fasolis, I Barocchisti & Coro della Radiotelevisione Svizzera - Vivaldi: Gloria - Nisi Dominus - Nulla in mundo pax (2018)
FLAC (tracks) 24-bit/96 kHz | Time - 58:57 minutes | 1.17 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet

Julia Lezhneva, Franco Fagioli and Diego Fasolis: three stars of the Baroque unite to record Vivaldi’s most popular choral work.
Coro della Radiotelevisione Svizzera, I Barocchisti, Diego Fasolis - Vivaldi: Gloria - Nisi Dominus - Nulla in mundo pax (2018)

Coro della Radiotelevisione Svizzera, I Barocchisti, Diego Fasolis - Vivaldi: Gloria - Nisi Dominus - Nulla in mundo pax (2018)
WEB FLAC (tracks) - 307 Mb | MP3 CBR 320 kbps - 137 Mb | 00:59:11
Classical, Choral | Label: Decca Classics

Julia Lezhneva, Franco Fagioli and Diego Fasolis: three stars of the Baroque unite to record Vivaldi’s most popular choral work.
Jean-Christophe Spinosi, Ensemble Matheus - Vivaldi: Nisi Dominus, Stabat Mater, Crucifixus (2007)

Jean-Christophe Spinosi, Ensemble Matheus, Philippe Jaroussky, Marie-Nicole Lemieux - Vivaldi: Nisi Dominus, Stabat Mater, Crucifixus (2007)
EAC | FLAC | Image (Cue & Log) ~ 202 Mb | Total time: 41:57 | Scans included
Classical | Label: Naïve | # OP 30453 | Recorded: 2007

Antonio Vivaldi's probably early Nisi Dominus, RV 608, and Stabat Mater, RV 621, both for solo voice and ensemble, have received several top-notch recordings, so the listener can pick on the basis of voice type and stylistic preference. Countertenor David Daniels has essayed the pair with Fabio Biondi and his Europa Galante ensemble, and you can hear the preternaturally rich contralto Sara Mingardo in a reading with the fiery Italian Baroque specialist Rinaldo Alessandrini. Here you get a countertenor, Philippe Jaroussky, in the Nisi Dominus and a female contralto, Canadian Marie-Nicole Lemieux, in the Stabat Mater. The pairing robs the whole of unity at one level, but makes musical sense; the Nisi Dominus is a more athletic work that benefits from the power of the male voice, while the Stabat Mater, especially in Vivaldi's truncated and highly dramatic setting, may require the audience to identify with a female singer.
Andreas Scholl, Ottavio Dantone, Accademia Bizantina - Arcadia: Scarlatti, Marcello, Gasparini, Pasquini (2003)

Andreas Scholl, Ottavio Dantone, Accademia Bizantina - Arcadia: Scarlatti, Marcello, Gasparini, Pasquini (2003)
EAC | FLAC | Image (Cue & Log) ~ 362 Mb | Total time: 78:00 | Scans included
Classical | Label: DECCA | # 470 296-02 | Recorded: 2003

Countertenor Andreas Scholl's new CD is devoted to little-known, late-17th- and early-18th-century cantatas whose subject matter is Arcadia, a real region in Greece, but more frequently evoked as an idyllic place filled with innocent, simple shepherds and shepherdesses. Scholl employs a more operatic tone and attitude than we're accustomed to from countertenors. Not only does he use vibrato and "lean" on the voice, but he dips down, as in the final moments of a cantata by Marcello, into a deep, dark baritone range. The effect is dramatic and apt. Elsewhere his tone is just gorgeous and always expressive, he pays attention to the text of these works and captures the theatrical moment in each. The last movement of a work by Francesco Gasparini is excitingly acrobatic. The Accademia Byzantina is a remarkable "backup" group and they get to play some purely orchestral works as well. This disc is a knockout; enjoy it.
–Robert Levine
Andreas Scholl, Gabrieli Consort & Players, Paul McCreesh - Handel: Solomon (1999)

Andreas Scholl, Gabrieli Consort & Players, Paul McCreesh - Handel: Solomon (1999)
EAC | FLAC (image+.cue, log) | Covers Included | 02:37:19 | 763 MB
Genre: Classical, Oratorio | Label: ARCHIV Produktion | Catalog: 0289 459 6882 7

It's been conventional wisdom for several generations that Solomon, great oratorio though it may be, contains a lot of deadwood; conductors have regularly cut some items and changed the order of others. (Even John Eliot Gardiner's excellent recording cuts about 30 minutes of music.) Leave it to Paul McCreesh to give us the complete score–and demonstrate that Handel's original structure makes plenty of sense and that every number is worthwhile.
St. Florianer Sangerknaben, Ars Antiqua Austria, Gunar Letzbor - Biber: Missa Alleluja; Nisi Dominus (2017)

Heinrich Ignaz Franz Biber: Missa Alleluja; Nisi Dominus etc (2017)
St. Florianer Sängerknaben, Ars Antiqua Austria; Gunar Letzbor

EAC | FLAC | Image (Cue&Log) ~ 289 Mb | Mp3 (CBR320) ~ 139 Mb | Artwork included
Classical, Choral | Label: Accent | # ACC24325 | Time: 00:59:08

Several masses with large orchestration attest to the outstanding compositional skills of the Salzburg master Heinrich Ignaz Franz Biber (1644-1704) in coping with large ensembles. As usual in Salzburg, Biber expects polychoral performances. The church music at the Salzburg cathedral drew its orientation from the performance practice in Venice. The Missa Alleluia was probably composed after 1690 and certainly before 1698, because a manuscript was made in Kremsmunster that year. The original score and sheets from Salzburg are lost. Excellent copies have been preserved at the Upper Austrian abbey at Kremsmunster: they serve as a basis for the present recording. Biber has fully exploited the possibilities of Baroque Instrumentation in the Missa Alleluia: a chorus with 2 sopranos, 2 altos, 2 tenors and 2 bass voices grants him a large number of combinations of voices and thus constant change of timbre. The strings choir also has six parts, with both violins often conducted virtuosically. A chorus with 3 trumpets and 2 cornetti is even surpassed in tonal mass by the chorus composed of 2 clarini, 4 trumpets, and timpani. This large number of trumpets emphasizes the cheerful character of the work and is very luxurious by Austrian standards.
Andreas Scholl & Tamar Halperin - Wanderer (2012) [Official Digital Download 24/96]

Andreas Scholl & Tamar Halperin - Wanderer (2012)
FLAC (tracks) 24-bit/96 kHz | Time - 82:57 minutes | 1.33 GB
Studio Master, Official Digital Download | Artwork: Front Cover

A new and exquisite collection of German songs from counter-tenor Andreas Scholl, providing a perfect balance between text and music. The choice of music reflects Scholl’s belief that music need not be confined in performance to a particular voice type, as long as “the singer’s approach is true.”
Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: Nisi Dominus, Salve Regina (2010)

Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: Nisi Dominus, Salve Regina (2010)
EAC | FLAC | Image (Cue & Log) ~ 364 Mb | Total time: 68:12 | Scans included
Classical | Label: CPO | # 777 476-2 | Recorded: 2008

Alessandro Scarlatti is justly famed for his contributions to Read more opera seria and cantata, and indeed it may even be said that he was one of the main progenitors of the Neapolitan style of the early 18th century. In Naples and earlier in Rome he was obligated to write a considerable amount of sacred music, much of it for smaller settings that would be useful in the local churches. Since his music is now becoming more common on disc, it is good to have this recording of a set of four pieces—a gradual, a Marian antiphon, a motet, and a Psalm—all of which reflect rather different approaches to each portion of the liturgy and yet contain a certain commonality in form and structure. Interspersed within these, and no doubt both to provide a transition between then and to fill out the disc, are three organ works, two of which are of substantial length. Given that Scarlatti’s pieces for this instrument are not common, their appearance here is a real treat.
Andreas Scholl, Paul Dyer, Australian Brandenburg Orchestra - Vivaldi: Nisi Dominus; Motets [2000]

Andreas Scholl - Vivaldi: Nisi Dominus; Motets [2000]
Classical | DECCA 466 964-2 | TT: 69.31 | EAC (FLAC, cue, log) | Cover | 261 Mb

From the earliest planning stages for this recording, Andreas Scholl had only one orchestra in mind: the Australian Brandenburg Orchestra. It's no surprise that Decca was skittish about the idea–there are, after all, many good baroque-instrument bands much closer to London–yet the star countertenor insisted that his rapport with this group was special and that it would be well worth the trouble to make the record in Sydney. Well, from the very first notes, it's clear that Scholl was right: conductor Paul Dyer and the ABO launch into the opening of Nisi Dominus with an energetic gusto that you'd sooner expect from Rinaldo Alessandrini's Concerto Italiano than from an Anglo-Saxon band. Scholl responds in kind: his vocalism is as smooth, clear, and assured as ever, but he goes beyond that–his innumerable subtle inflections of tone and timing are more reminiscent of a good orator than an opera singer. The up-tempo arias are exciting, with high-precision coloratura; Clarae stellae, a cheerful solo motet that lacks flashy vocal fireworks, gets a wonderfully insouciant little bounce. Yet the real magic is in the soft, slow arias, where Scholl and his colleagues create an almost palpable sense of wonder (slightly tinged with tension) and hold a listener in thrall as surely as an expert storyteller. Let's hope these artists make more recordings together–and that (with luck) they'll all be as marvelous as this one. –Matthew Westphal