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on 13 February 2015
great my daughter tells me she likes to have this on in the car
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on 11 August 2015
One of the best CD in my collection in terms of male voice. "Son contento" and "Al lampo del armi" are magnificent arias. Worth to buy in my opinion! Thank you Mr. Scholl !!!
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on 14 March 2016
everything ok. thank you!
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on 11 December 2014
nice album from a great voice
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TOP 50 REVIEWERon 2 January 2016
Andreas Scholl is in superb voice on this disc of arias written for the legendary countertenor, Senesino, who came from Siena, had a dazzling career, and was apparently very difficult. It is hard to believe he could have sounded any better than Scholl, whose voice has a centred, burnished quality that is unique. His control of tone is amazing, so that his phrasing in the closing number by Porpora, for instance, finds him adding vibrato on tied notes so that the sound changes on the beat. There is such purity in the line, vibrato being used sparingly but to highly dramatic effect at times. It is a large voice but one used with restraint, except where he really needs to make a dramatic emphasis. You can feel that he has lived with some of these roles - in the beautiful aria from Rodelinda, for instance, he conveys some indefinable feeling and freedom that shows how he has internalised the music completely. Handel makes up about half an hour of the disc (Giulio Cesare in Egitto, Rinaldo) but is split into two blocks, with Lotti, Albinoni and Alessandro Scarlatti coming between, while the moving Porpora aria comes after two stupendous Handel numbers, making a fine build-up to the end. The variety in the other composers is pleasingly wide - horns feature in the out-of-doors radiance of the Scarlatti, preceded by a violin obbligato in the previous Discordi pensieri from Lotto's Teofane. The Accademia Bizantina under Ottavio Dantone's direction support the singer with great energy and precision, making for a sound world of the utmost bliss.
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on 18 September 2005
This is a vocal portrait of the megastar alto castrato Senesino whose singing held European audiences spellbound and earned him an astronomical income. It outlines his career from the first aria (by Lotti) that Handel heard him sing to his last performance, taking in some of his biggest hits from Handel's operas Rinaldo, Giulio Cesare and Rodelinda, and some other previously unrecorded arias by some of the period's best composers. Senesino's tessitura and Scholl's are the same, as far as we know, and all these pieces are tailor-made to show off both singers' talents. It's a wonder that Andreas Scholl has not recorded Cara Sposa before now. His intepretation and use of vocal colour in this track are very affecting, ranging from introverted pain to powerful desperation. The CD includes Aure deh per pieta and Dove Sei, both of which Scholl recorded a few years ago, before (as he says) performing on the opera stage transformed his approach. For anyone who knows his work, the difference is very clear. There is a most wonderful 'shake' (a Senesino trademark) towards the end of Aure deh per pieta. The fast coloratura runs in Stelle Ingrate and Al Lampo dell'armi were written to bring the house down and one can imagine the delight of an audience on hearing these pieces live from Andreas Scholl, given his unmatched vocal agility. One can but guess at the impact of hearing them, newly-minted, from Senesino himself. Andreas Scholl's admirers have waited a long time for this recording and would welcome others like it. There is a huge catalogue of highest-quality Baroque music for the alto voice, eminently suited to Scholl's talents, much of it unrecorded, and one hopes he will get around to documenting more it.
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on 19 March 2007
Theres something very choir-boy-esque about the former choirboy Andreas Scholl. He tends to look appealingly nerdy on most of his album covers, rather like Clark Kent I suppose, but all that goes out of the window when you listen to his voice.

I'm not particularly knowledgeable about classical music, I tend to just listen to stuff I like and ignore most of opera which is too, well, operatic and 'warbly' for me. However, Andreas Scholl's album 'Arias For Senesino' gives an opportunity to hear some of these arias, originally written for the famous castrato Senesino, in a plain and sweet style.

For those who like a lot of vibrato and dynamism in their singers, Andreas Scholl isn't for them. However for people like me who like to listen to pure, sweet sounds without too much distracting other stuff, this album works just fine. I know other reviewers have commented that his treatment of Handel is too dull but I found the whole album very enjoyable. I particularly liked the Dove Sei from Rodelinda (what can I say, I'm new to this stuff, and I love that song; I know it's been done to death but it's still great); there were a couple of tracks that were a bit too lively for my taste although no doubt displaying Scholl's real mastery of singing. This is an album that I know I will listen to multiple times and the more I listen the more intrigued I get by the countertenor voice - somehow a bit eerie when you listen to it, but wonderful too. I recommend this album.
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on 25 October 2005
This is a wonderful album. I have never listened to Scholl until I heard him on TV. I purchased this 1 week ago and have not stopped listening to it since. The power of his voice, variations in styles of singing and his vocal range are all of great quality. This music might be an acquired taste, but for those who enjoy the delights of this music already, Scholl's album is a treasure. Any who are new to this music should listen repeatedly to develop the "ear" for such delightful and different music performed by a real expert and the talent of Scholl.
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on 19 September 2005
This has been a long awaited release from star countertenor Andreas Scholl, but although the singing is as nuanced and fluent as before, and the playing generally thrilling, Decca's (presumably) choice of repertoire is disappointing. Also, disappointingly, apart from some informative notes on Senesino from David Vickers, the lion's share of information on each aria, its origins and context, is in Italian only.
Scholl, along with American David Daniels, has been most responsible in the last decade or so for popularising the operas of Handel, and tackling the castrato roles that many thought previously were too difficult for modern singers to cope with. Here he sings a programme of arias created (in the most part) for the castrato Francesco Bernardi, known as Senesino. Arias from various stages of Senesino's career are represented here, though there is a major bias to the Handelian operas of the mid-1720s period - Rodelinda and Giulio Cesare. But, there are also arias from Albinoni, Lotti and Alessandro Scarlatti, tohgether with the last aria thought to have been sung by Senesino - Porpora's 'Va' per le vene il sangue'.
Scholl has recorded most of the Handel arias before for both Harmonia Mundi and Decca, except the opening aria Bel Contento from Flavio. His singing here is delightful and his ornamentation understated but interesting. Similarly, his mature interpretation of the scenes from Rodelinda and Giulio Cesare shows his experience of both roles in the theatre, and while the voice perhaps has lost a bit of that 'purity' in the highest notes, his attention to the text is absorbing. Al Lampo dell'armi is thrilling at breakneck speed but is perhaps not the best example of this type of aria written for Senesino. Why Cara Sposa is included, written as it was for an earlier singer Nicolini, is slightly unclear, except as a piece of marketing, but it is the least effective aria which fits Daniels' voice more readily than Scholl's.
The best singing, and playing comes in the non Handel arias. Here Scholl has the chance to show off his remarkable voice to better effect - the highlight is probably the last aria from Porpora - and the others all make one wish for recordings of the operas they come from. Many of these are recorded for the first time.
If one is looking for a more rounded view of Senesino's vocal qualities then pick up Nick McGegan and Drew Minter's disc. Scholl fans will buy this disc because of his voice, and newcomers will be interested all the more because of his Last Night at the Proms debut in September.
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on 19 July 2010
this collection of arias gives a good idea of the extraordinary flexibility of Scolls's voice
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