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David Vernier
ClassicsToday.com, May 2019

All the same attributes I mentioned in several reviews of Scholl’s singing more than 10 years ago are still very much alive and equally impressive: the same pure, unforced, natural vocal quality; the consummate musicianship and interpretive instincts—including his masterful phrasing and use of color. It’s all there, and if you haven’t heard it, you should.

It’s also nice to hear his rendition of the motet Filiae Maestae Jerusalem RV 638. Captivating, entrancing—either description will suffice. And we also are sure to be equally captivated and entranced—or perhaps energized is more appropriate—by the Lauda Jerusalem RV 609, Vivaldi’s exciting and vigorous setting of Psalm 147 for double choir and two soprano soloists. The soloists are excellent, and the choir and orchestra as spirited and articulate as we could wish for. © 2019 ClassicsToday.com Read complete review



Johan van Veen
musica Dei donum, October 2018

The playing of his [Dubrovsky] orchestra is more differentiated, flexible and colourful. His choir also sings very well… The two sopranos sing their parts very nicely, both in the Gloria and in the short psalm Lauda Jerusalem. They produce a warm sound and deal with the coloratura with great flexibility, two things I miss in Lezhneva’s performances. Andreas Scholl is in every respect superior to Fagioli. In the Stabat mater his phrasing is excellent and his interpretation is very differentiated. He is well aware of the expressive features of every single verse. © 2018 musica Dei donum Read complete review




Shirley Ratcliffe
Classical Music, October 2018

This is an excellent live recording of a concert given at the Basilika Stift Klosterneuberg. The Miserere Filiae maestae Jerusalem and Stabat Mater showcase Scholl’s fine musicianship, phrasing and interpretive powers, sympathetically accompanied by the consort. The result is very enjoyable. © 2018 Classical Music Read complete review



Bertil van Boer
Fanfare, September 2018

Sopranos Hanna Herfurtner and Joowon Chung have a fine blend in their Laudamus, while countertenor Andreas Scholl has a deeply resonant voice in his two numbers… The Filiæ Maestæ is a short cantata, with an especially lilting second aria that countertenor Scholl performs with grace and ease, as the flowing lines weave a lyrical counterpoint to the ostinato ritornello strings. © 2018 Fanfare Read complete review



John W Barker
American Record Guide, September 2018

For some, the interest might be the participation of Scholl. He is in lovely voice, but almost too much so: he brings a gentle sweetness to a lot of the music that deserves more forthrightness—not to mention a true female sound that listeners would expect in the two large works where he sings. The two sopranos (Hanna Herfurtner and Joowan Chung) are quite good, but are of fleeting interest. Choral and orchestral work is of good quality… © 2018 American Record Guide Read complete review on American Record Guide



Dave Billinge
MusicWeb International, June 2018

…All the performers are given the most athletic workout, though the great Andreas Scholl has the lion’s share of solo display. He and his two soprano colleagues sing superbly well. The instrumentalists are all of the highest standard and director Rubén Dubrovsky propels his forces with gusto. © 2018 MusicWeb International Read complete review





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