The voice is beautiful–gorgeous, even. I’ve said this before and I say it again without reservation. And countertenor Andreas Scholl is one of the most intelligent and thoroughly musical singers alive. But–and I know there will be lots of promotion and excitement over this release and lots of gushing over Scholl’s singing–I just wasn’t nearly as impressed with this recording as I have been with Scholl’s earlier discs for Harmonia Mundi and Decca. The problem is the material and the singer’s rather disjointed interaction with his accompanists. It’s as if Scholl has one idea about expression–an often almost improvisatory feel–that his partners just never quite figure out. It’s also unfortunate that the opening song, Holborne’s “My heavy sprite”, is indeed so heavy in spirit–and slow. You’re dragged into the program rather than being lulled or gently led or delightfully whisked. Scholl is best in the songs with more regularly flowing meters and long, limber lines, such as Caccini’s “Amarilli mia bella” or Dowland’s “Far from triumphing court”, or in swift-moving, run-laden, ornamented pieces (which don’t appear on this program). Partly for these reasons I would rather hear Scholl in Handel, where he’s unsurpassingly captivating, or Vivaldi, or in the German cantata repertoire he performed a couple of years ago for Harmonia Mundi. Sure, Scholl fans will find much to savor here, but it’s not the best opener for newcomers to his art. For that, try the compilations titled The Voice (Harmonia Mundi), or Heroes (Decca). Incidentally, the sound here is warm and suitably intimate, and the varied instrumental accompaniments–using different kinds of lutes, orpharion, guitar, harpsichord, and viols–makes for ear-pleasing coloristic and expressive effects.
