Scholl, Jaroussky, Ensemble Artaserse, Barbican

Two countertenors turn rivalry into musical romance

by Alexandra CoghlanWednesday, 08 December 2010

Andreas Scholl: An artist solely of the recording studio?

The egos and rivalries of the great castrati – of Senesino, Carestini, Farinelli – are legendary. Too few arias, too unheroic a role, or just too little virtuosity (Handel’s beautiful “Verdi prati” was almost lost to us when Senesino rejected its simplicity) were all cause enough for a tantrum. How times have changed. Collaborating for their new Purcell project, superstar countertenors Andreas Scholl and Philippe Jaroussky are trading jealousy for duets, and proving that you really can never have too much of a good thing.

The music’s solo lines undulate and coil amongst one another in quite the most overtly sexual encounter of Baroque music

Buy

Philippe Jaroussky recordings on Amazon

Andreas Scholl, Accademia Bizantina, Barbican

Explore topics

Share this article

...

Permalink Submitted by William Marriott (not verified) on Wed, 08/12/2010 - 07:28

I was fortunate enough to be sitting only a little more than 10 foot away from Scholl and Jaroussky last night. Wonderful performances by both. There is no doubt in my mind that Scholl did in fact have 'vocal issues' - which were being well disguised. He was having to clear his throat at the end of most phrases. As you say, the performances taken as a whole were superb. But on balance, Scholl's mastery shone through for me.

...

Permalink Submitted by LilianF (not verified) on Wed, 08/12/2010 - 08:36

I was there too. They were superb. Scholl's weaker tone more than compensated for by his immense musicality and emotional maturity. I did wonder if he was a bit ill -- the regular coughs. It felt like he had to hold back a bit on power in order to preserve the clear tone and expressiveness. He is still the greatest; Jaroussky was as impressive as I have ever heard him, but has not yet Scholl's passion. QUESTION: What was Scholl's first encore?? It was stunningly wonderful.

...

Permalink Submitted by Peter Anderson (not verified) on Wed, 08/12/2010 - 09:59

Scholl's encore from King Arthur: COLD GENIUS What power art thou, who from below Hast made me rise unwillingly and slow From beds of everlasting snow? See'st thou not how stiff and wondrous old, Far unfit to bear the bitter cold, I can scarcely move or draw my breath? Let me, let me freeze again to death. Follow the link for full lyrics: http://www.impresario.ch/libretto/libpurkin_e.htm

...

Permalink Submitted by Daniel (not verified) on Wed, 08/12/2010 - 10:37

Giusto ciel, would I have fantasies about those two as an item...the perfect couple, I'd have thought.

...

Permalink Submitted by GT LR (not verified) on Sun, 12/12/2010 - 19:57

We were there. It was a fabulous concert. It got better and better as it went along. I thought Scholl was a little weaker when they kicked off, but he grew into the evening, and the finale (the encore, or encores) was fantastic. Scholl's encore of the King Arthur, with fantastic edgy string playing likeable to Vivaldi's "Winter" decades later, was superb, and the rapour the two singers had with each other and (in the second half and encore) with the audience were excellent. I was ready to fall asleep to languid Purcell lamentations in the first half, but instead I was blown away by their musicality and lyrical ability. The encore is worth a cd in its own right. They were awesome.

Add comment

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Classical music

Rajakesar, Selaocoe, The Hermes Experiment, Wigmore Hall review - a joyful, fascinating laboratory of noise Celebrating the avant-garde through different cultures

Classical CDs: Vitamins, kings and magic spells A neglected ballet score, romantic piano concertos and contemporary British music

Kavakos, Philharmonia, Blomstedt, RFH review - a supreme valediction forbidding mourning Nonagenarian conductor provides the flow, his players the passion, in Mahler's Ninth

Perianes, Orchestre Symphonique de Montréal, Payare, Barbican review - elegance and drama but not enough bite Often dynamic Venezuelan conductor misses the darkness of the 'Symphonie fantastique'

La Serenissima, Wigmore Hall review - an Italian menu to savour Tasty Baroque discoveries, tastefully delivered

Roman Rabinovich, Wigmore Hall review - full tone in four styles Fascinating Haydn, Debussy and Schumann, odd Beethoven

Wyn, Dwyer, McAteer, RSNO & Choirs, Diakun, Usher Hall, Edinburgh review - ebullient but bitty ‘Carmina Burana’ is fun in parts, but Langer’s ‘Dong’ doesn’t flow

Gerhardt, BBC Philharmonic, Chauhan, Bridgewater Hall, Manchester review - from grief to peace Anna Clyne, Shostakovich and Richard Strauss tell us about loss, struggle and healing

Bach Brandenburg Concertos, OAE, QEH review - forever young Zest, dash and fun in rejuvenated favourites

First Person: Alec Frank-Gemmill on reasons for another recording of the Mozart horn concertos On ignoring the composer's 'Basta, basta!' above the part for the original soloist

Andrej Power, LSO, Mäkelä, Barbican review - singing, shrieking rites of darkness and light Radical masterpieces by Sibelius and Stravinsky have never sounded more extraordinary

Mailley-Smith, Piccadilly Sinfonietta, St Mary-le-Strand review - music in a resurgent venue Neglected London church now the home of a vibrant concert series

Follow @theartsdesk