Andreas Scholl
Counter-tenor

“Scholl loves the great era of English song that stretches from Dowland to Purcell, and in this concert brought it to life in performances of heart-felt intensity. The canvas of these songs may be small, but Scholl made it seem immense.” (Ivan Hewett, The Telegraph)

Contacts

Ian Stones +44 (0)20 3725 9104
Catherine Znak +44 (0)20 3725 9105

Biography

Andreas Scholl has released a series of extraordinary solo recordings including: Wanderer - a disc of German Lied in partnership with pianist Tamar Halperin; O Solitude – an all-Purcell album with Accademia Bizantina which won the 2012 BBC Music Magazine award, Arias for Senesino, Heroes a disc of arias by Handel, Mozart, Hasse and Gluck, Robert Dowland's A Musicall Banquet, Arcadia a collection of rare and unpublished cantatas by composers from Rome’s Arcadian Circle, Wayfaring Stranger a selection of specially arranged English and American folksongs with Orpheus Chamber Orchestra, Bach cantatas with Kammerorchester Basel and Vivaldi Motets with the Australian Brandenburg Orchestra, all of which are released on Decca.

Andreas Scholl has released a series of extraordinary solo recordings including: Wanderer - a disc of German Lied in partnership with pianist Tamar Halperin; O Solitude – an all-Purcell album with Accademia Bizantina which won the 2012 BBC Music Magazine award, Arias for Senesino, Heroes a disc of arias by Handel, Mozart, Hasse and Gluck, Robert Dowland's A Musicall Banquet, Arcadia a collection of rare and unpublished cantatas by composers from Rome’s Arcadian Circle, Wayfaring Stranger a selection of specially arranged English and American folksongs with Orpheus Chamber Orchestra, Bach cantatas with Kammerorchester Basel and Vivaldi Motets with the Australian Brandenburg Orchestra, all of which are released on Decca. 

Highlights this season include two important new projects: a collaboration with baroque flautist Dorothee Oberlinger for a recording and concert tour with a programme of cantatas by Bach entitled Small Gifts from Heaven; and with regular collaborators Accademia Bizantina he presents a newly curated programme, Invocazioni Mariane, in celebration of the cult of the Virgin Mary with music by composers from 17th century Italy.

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Contacts

Ian Stones +44 (0)20 3725 9104
Catherine Znak +44 (0)20 3725 9105

Reviews

“[Giulio Cesare is] a role [Andreas Scholl] sings beautifully and plays with a dry, twinkle-in-the-eye irony which was captivating.” (Opera Magazine, June 2016)

“Douce et impérieuse à la fois, la voix d'Andreas Scholl illumine le Théâtre des Champs-Elysées” (Bachtrack, December 2015)

“Scholl loves the great era of English song that stretches from Dowland to Purcell, and in this concert brought it to life in performances of heart-felt intensity. The canvas of these songs may be small, but Scholl made it seem immense. He gave an epic breadth to the folk-song King Henry, and when he sang the words "trembling, trembling" in Purcell’s Sweeter than Roses, he really did tremble like a man possessed. The real test in these songs is to bring out the flirty quality of the light songs without seeming arch, a test which Scholl passed with flying colours.” (The Telegraph, June 2015)

“[Giulio Cesare is] a role [Andreas Scholl] sings beautifully and plays with a dry, twinkle-in-the-eye irony which was captivating.” (Opera Magazine, June 2016)

“Douce et impérieuse à la fois, la voix d'Andreas Scholl illumine le Théâtre des Champs-Elysées” (Bachtrack, December 2015)

“Scholl loves the great era of English song that stretches from Dowland to Purcell, and in this concert brought it to life in performances of heart-felt intensity. The canvas of these songs may be small, but Scholl made it seem immense. He gave an epic breadth to the folk-song King Henry, and when he sang the words "trembling, trembling" in Purcell’s Sweeter than Roses, he really did tremble like a man possessed. The real test in these songs is to bring out the flirty quality of the light songs without seeming arch, a test which Scholl passed with flying colours.” (The Telegraph, June 2015)

“In complete contrast, the traditional ‘King Henry’ allowed Scholl to display his most individual characteristic, the ability to silence a room with singing of such directness and intimacy that phrases seem to hang on the air long after they have been uttered. That same directness was evident in the group of Britten settings; aching with homesickness, and with the composer’s unmatched harmony of words and music, these songs can seldom have been played or sung with such sympathy and understanding.” (musicomh.com, November 2014)

“Scholl’s singing was brilliant, crystalline, sparkling and pointed, with charm and clarity of tone” (The Berkeley Daily Planet, November 2014)

“It might be a new Golden Age of the countertenor, bur few can equal the sheer beauty of tone and dramatic instinct displayed by Andreas Scholl.” (BBC Music Magazine, February 2012)

“Scholl sang with the refinement and intensity for which he is known. Phrases were perfectly shaped. His tone was pure. For once at a concert presented by the Los Angeles Philharmonic, printed texts were provided and the lights kept on. But this time they weren't needed. Accents and annunciation were as they should be: Each word could be understood and felt. Music of great character was delivered with great character but without great or unneeded exaggeration. Scholl is a model singer.” (LA Times, October 2011)

“This concert, its programme a kind of Sampler of what Andreas Scholl’s art is all about, gave as good a reason for thanks as any I can imagine. Sweeter than roses’ was not so much sung as dramatically lived, the phrase ‘made me freeze’ sending shivers down the spine, but even this was overshadowed by a peerless ‘Have you seen the bright lily grow?’ which was a couple of minutes of utter perfection, ‘O so sweet is she’ seeming to linger in the air long after the song had closed.” (Music OMH, June 2011)

“Andreas Scholl’s disc 'Crystal Tears', a darkly entrancing program of music from Elizabethan and Jacobean England, is my candidate for CD of the year. Scholl, a German countertenor with a pure yet full voice, goes uncannily deep into the songs of John Dowland and his contemporaries; the lutenist Julian Behr and the viol consort Concerto di viole provide immaculate, hypnotic accompaniment.” (The Ten Best Classical Music Recordings of 2008, The New Yorker, December 2008)

"In the three Handel solo cantatas - all about the ecstasies and the agonies of love - Scholl was storyteller supreme, daring his audience to stay fully engaged for every compelling second."  (The Times, June 2006)