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This
album is also available at mid-price in the Harmonia Mundi
Bach Edition (HMX 2951644, cover above).
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The
first sounds that struck my ears when I first heard this disc was
the sheer beauty of Scholl's voice. His vocal instrument possesses
and soon displays its clarity, power and interpretive colours. In
one word, his voice can be classified simply as ravishing.
This
German countertenor (b.1967) was trained under René Jacobs and Emma
Kirkby, the former a famous countertenor (now known for his conducting)
and the latter a soprano, both recognised in their own rights as
period specialists. Having come thus far from his successful debut
recital at the Theatre Grevin in Paris, Scholl has recorded on numerous
recordings with Jacobs, Philippe Herreweghe, William Christie, Christophe
Coin, John Eliot Gardiner and Chiara Banchini. Scholl has been lauded
as the countertenor extraordinaire from all corners; "The
quality of his voice and the rare sensibility he seems invariably
to show towards music and text are such as to win over the most
ardent detractors of the art of the male falsetto." (Gramophone).
I
had plenty of difficulties in putting words on screen for this review.
First and foremost of the reasons was the voice itself - faultless
and seamless across registers, full, focused and yet warm. Next,
being German, he sang through each word and imbued it with meaning
and colour, and then strung the words to make completely beautiful
phrases.
This
disc comes with a bonus second disc, featuring a varied programme
of works in English, German, Italian and Latin. I was elated to
hear Scholl's quiet and dignified delivery of "But who may abide
the day of His coming?" from Handel's Messiah (the full set
- reviewed here - is now available
in a special budget-priced reissue). His English and Italian diction,
like his first language German, is faultless. To fully appreciate
the arresting beauty of Scholl's voice, one only has to hear King
Henry on the bonus sampler disc; this is one of the few secular
pieces that is highlighted in this set. This song, set simply in
its barest and most naked form without any accompaniment, showcases
the beautiful signature Scholl tones.
Bach
wrote three of his four cantatas for solo alto in Leipzig between
1723 and 1729 where he was Kantor of the Thomasschule. During this
period, sometimes dubbed the "Cantata Years", Bach instructed the
choirs of and provided music for the St.Thomas School, performing
in the four principal churches in Leipzig. As with the usual practice
of the time, the sacred cantatas written were to be performed on
specific Sundays and services in these churches.
The
first cantata on the main menu, Cantata BWV 170: Vergnügte Ruh,
Beliebte Seelenlust ("Contented rest, beloved heart's desire")
opens to a lilting melody, not unlike "Jesu, Joy of Man's Desiring".
Listen to the aria "Wie jammen mich doch die verkehrten Herzen"
- when he sings the line "Ich zittre…" ("I tremble…"), he inflects
the word "tremble" with a very quick trill that gives the right
colour and nuance to the work and verse itself.
Strings
hail the opening of the second cantata, the shortest one amongst
the three showcased here. In terms of colour, Cantata BWV 54:
Widerstehe doch der Sünde opens with dark tones, forewarning
the message in the text. Whilst cantatas BWV35 and 170 deal with
the theme of resurrection and the preference of death against living
in the painful world without the presence of the Almighty, the alto
bids us to be strong in the face of transgression! The second aria
is florid and yet, Scholl carries it with steady grace. Timing is
everything here; the imbalance between the orchestra and singer
in any such instance can ruin a piece by appearing to run astray!
Bach will not be proclaimed a genius if he had not been able to
marry text to music successfully. As apparently captured in the
selection here, there is no end for the study of Bach's genius -
the way his music invokes mood and colour to further heighten the
depth of the words of the text. Geist und Seele wird verwirret
tells of the mind-boggling effect of God's creation and wonder.
However, there is no celebratory trumpet hailing this amazement;
yet we are constantly reminded this through the flowing accompaniment
to the voice that "laughs" whilst telling us of the joyous world.
There
are numerous other instances when Scholl colours his voice upon
inflection on certain words - "verwirret" ("bewildered") in the
opening aria of Cantata 35, Geist und Seele wird verwirret,
receives this same treatment. I have heard this disc over ten times
now, and am still amazed with this voice: subtlety, beauty, interpretive
colours, confidence, ease of production, naturalness of sound -
you name it, Scholl's got it! It is no wonder that he has been likened
to the great Arleen Auger.
In
true Herreweghe style, Scholl is accompanied with much grace and
confidence by the Orchestre du Collegium Vocale, with the sound
engineers securing excellent balance between orchestra and solo
voice. The playing is extremely crisp and clean. Markus Märkl gives
a brilliant organ performance in the opening concerto and the sinfonia
of Cantata 35.
I
am looking forward to hearing more from this fabulous countertenor.
Indeed, in the current fervour of the countertenor revival, pioneered
by Alfred Deller and followed on by Michael Chance, James Bowman,
Derek Lee Ragin and Drew Minter, Scholl stands tall with his peers
Brian Asawa and David Daniels. He performed twice at the Sir Henry
Wood Promenade Concerts in 1996, and had, on both occasions, the
packed Purcell Room eating out from his hand. I would love to hear
Scholl in operatic repertoire - I believe he would handle any of
Handel's demanding operatic roles most comfortably, with his vocal
capacity to run with much ease. Gluck's Orfeo ed Euridice
and Bellini's Capuletti ed Montecchi would be excellent dramatic
and plump roles for him.
Final
quote from this humbled reviewer - go out and buy this disc. If
you cannot buy it, beg, steal or borrow! You will not be disappointed,
guaranteed!!!
KERRYN
CHAN
would love to see Scholl performing at the Metropolitan Opera when
he is next in New York City!
To
Add a Comment to this article, please post your comments to classical@inkpot.com.
501: 17.5.1999 © Kerryn
Chan
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