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
According to German theological tradition, which Bach knew very well, the alto voice was the very symbol of the Holy Ghost. Bach's three solo cantatas for alto demand enormous vocal virtuosity. Their extraordinary musical variety embraces sublime consolatory lullabies, a faithful echo of an organ concerto and the dramatic qualities of an oratorio. Andreas Scholl is the featured soloist in this reissue, backed by Philippe Herreweghe and the Collegium Vocale Gent.
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
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.
Renée Fleming and Andreas Scholl lead a superb cast in Stephen Wadsworth’s celebrated production of Handel’s Rodelinda from the Metropolitan Opera – based on the "Live in HD" transmission to cinemas worldwide. The title role is unique in featuring no less than eight magnificent arias. Renée Fleming’s triumph in the first run of the production was hailed by The New York Times, "Ms Fleming draws on every resource of her artistry in this portrayal: luminous sound, exquisite ornamentation, floating high notes, emotional volatility."