Andreas Scholl - Heroes / Norrington

Editorial Reviews
Amazon.com
The gods of musical commerce are smiling on hot young countertenor Andreas Scholl: this is his second CD of opera arias to appear in less than a month. The previous disc, a selection of Handel arias on Harmonia Mundi, showcased Scholl's considerable strengths: subtle and sensitive phrasing, deft coloratura, and a pure, rounded tone with little of the disembodied hootiness that used to be accepted from countertenors. His first recital disc for Decca gives us a wider range of music (Hasse, Gluck, and Mozart as well as Handel) and a more complete representation of Scholl's singing--vices as well as virtues. Among the former are his top notes (sometimes squealy or poorly tuned) and a Joan Sutherland-like combination of beautiful sound with indistinct diction and lack of temperament. This is particularly damaging in the laments from Rodelinda and Giulio Cesare, which come across as mere pleasant pastorales; the famous "Che farò?" from Gluck's Orfeo ed Euridice sounds self-satisfied rather than bereft. (To be fair, Roger Norrington's jaunty tempos deserve much of the blame for this.) Scholl also aspirates his coloratura, which will bother some listeners more than others. On the other hand, "Oh, Lord, whose mercies numberless" from Handel's Saul is radiant, and the two arias from early Mozart operas are thrilling. In the end, the disc gives a fair, well-rounded picture of an important young singer. Speaking of pictures, by the way, Decca's photographer deserves plaudits for making this tall, somewhat gawky German with Nana Mouskouri glasses look almost glamorous. --Matthew Westphal

Tracks:

Serse, HWV 40: Frondi tenere
Serse, HWV 40: Ombri mai fu
Semele, HWV 58: Where'er You Walk
Saul, HWV 53: Such Haughty Beauties
Saul, HWV 53: Oh Lord, Whose Mercies Numberless
Rodelinda, regina de' Langobardi, HWV 19: Vivi, tiranno!
Rodelinda, regina de' Langobardi, HWV 19: Con rauco mormorio
Giulio Cesare in Egitto, HWV 17: Dall'ondoso periglio
Giulio Cesare in Egitto, HWV 17: Aure, deh, per pieta spirate
Artaserse: Pallido il sole - Andreas Scholl
Orfeo ed Euridice: Che faro senza Euridice ? - Gluck
Ascanio in Alba, K111: Al mio ben mi veggio avanti - Mozart
Telemaco: Ah! non turbi il mio riposo - Gluck
Mitridate, re di Ponto, K87 - 74a: Venga pur, minacci e frema - Mozart

Amazon.com

The gods of musical commerce are smiling on hot young countertenor Andreas Scholl: this is his second CD of opera arias to appear in less than a month. The previous disc, a selection of Handel arias on Harmonia Mundi, showcased Scholl's considerable strengths: subtle and sensitive phrasing, deft coloratura, and a pure, rounded tone with little of the disembodied hootiness that used to be accepted from countertenors. His first recital disc for Decca gives us a wider range of music (Hasse, Gluck, and Mozart as well as Handel) and a more complete representation of Scholl's singing--vices as well as virtues. Among the former are his top notes (sometimes squealy or poorly tuned) and a Joan Sutherland-like combination of beautiful sound with indistinct diction and lack of temperament. This is particularly damaging in the laments from Rodelinda and Giulio Cesare, which come across as mere pleasant pastorales; the famous "Che farò?" from Gluck's Orfeo ed Euridice sounds self-satisfied rather than bereft. (To be fair, Roger Norrington's jaunty tempos deserve much of the blame for this.) Scholl also aspirates his coloratura, which will bother some listeners more than others. On the other hand, "Oh, Lord, whose mercies numberless" from Handel's Saul is radiant, and the two arias from early Mozart operas are thrilling. In the end, the disc gives a fair, well-rounded picture of an important young singer. Speaking of pictures, by the way, Decca's photographer deserves plaudits for making this tall, somewhat gawky German with Nana Mouskouri glasses look almost glamorous. --Matthew Westphal

Customer Reviews:

An excellent album from this marvellous countertenor.......2007-03-16

I'm no expert in classical music and found my way to this album by a rather circuitous route. I hadn't heard a countertenor before listening to a snippet of Andreas Scholl singing Ombra Mai Fù on iTunes and finding his voice very intriguing. I did a little research on the countertenor voice, not sure whether I actually liked what I heard or not. Eventually I decided to try a CD and I picked "Heroes" as it has Ombra Mai Fù - yes, a very popular a possibly over-sung aria, but still one I love.

"Heroes" was probably just the right album for me to pick. There's a range of different music on here, some Italian, some in English, and with different singing styles. But throughout the whole album Andreas Scholl's voice is just stunning. It's a very warm, pure sound and you can hear the words that he's singing. It's not over-warbly, something I don't like in classical singers, but on the other hand he doesn't sing in a plain or bland manner. It's an album that, for me, improves as I listen to it more and more. And yes, I do very much like his voice; I've never been a fan of female altos, somehow they don't seem to quite have the power or feeling that I like to listen to, but Andreas Scholl seems able to produce that. Not only have I now ordered his "Arias for Senesino" album because I enjoyed this one so much but I'm planning to attend a concert where he is singing in Germany. And that, as a result of listening to just one CD, is high praise indeed!

a voice teacher and early music fan.......2006-11-06

I like the quote by Andreas Scholl printed on the outside of the record jacket: "There is more to heroism than winning fearlessly. My heroes have moments of weakness and must overcome their difficulties." There is no doubt that when he chose the selections for this disc he had this thought in mind. Heroes such as Jupiter in 'Semele' who praised his lover Semele with the lovely 'Where'er You Walk' and at the end killed her (nice guy)- Bertarido in 'Rodelinda' singing 'Vivi,tiranno'after killing a mobster(justifably) and then refusing to kill the 'ringleader'- Orfeo in'Orfeo and Euridice' singing a song of longing for his wife after sending her back to death by making a huge error- and David in 'Saul' singing 'O Lord, Whose Mercies Numberless' one minute asking God to help Saul and afterward hating and fearing him. Scholl handles all of these situations pretty much in character. His voice, as always, is clear reflecting the fact that his training even thuout his 'changing' voice at puberty was always geared to the head voice. His teacher cleverly detected that that was his best voice. Of course, the English for centuries have known this and followed thru producing such excellent countertenors as Bowman,Chance,Blaze etc. This is a very exciting and entertaining group of arias well worth the purchase.

What would this world be without countertenors?.......2002-12-11

I met my first countertenor a few years ago and I had the priviledge of singing beside him in our choir. The incredible purity of the countertenor voice is something that I, as a Baroque music lover, can only dream of achieving. I think that Andreas Scholl is one of the most incredible countertenors today. The purity of his sound and the passion of his performances speaks to me in ways that only music can. I own several of his albums, and this is my favorite. Nothing is quite incredible as in 'Pallido Il Sole' when he dips into his natural baritone register for a few notes and comes back up again. There is something mystical and beautiful about male altos and we, as the female counterparts, should try to emulate.

no emotion.......2002-09-29

If nice voice only is what you are looking for, go for this CD. But if you are looking for the emotion and the _interpretation_ of the arias (my case), this is not your choice. No emotion comes across....Pity.

Heavenly Voice.......2001-09-21

I like so much Baroque music. At this period, singer is a man that is not a woman. They are always prase for GOD, love......
If you can select this CD, you can meet the new classic world.

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