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ANDREAS SCHOLL Countertenor
Tuesday
Markus Märkl harpsichord |
German Baroque Lieder and Sacred Songs presented by the Goethe-Institut Singapore |
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Johann Nauwach (1595-1630)
Jetzund kömpt die Nacht herbei Ach Liebste, lass uns eilen Heinrich Albert (1604-1651) Veneris miseras resonare querelas Adam Krieger (1634-1666) Ihr bleibet nicht Bestand verpflicht Der Liebe Macht herrscht Tag und Nacht Der Reinsche Wein tanzt gar zu fein
J.C. Ferdinard Fischer (? - 1746)
Andreas Hammerschmidt (1611-1675)
Kunst des Küssens
Johann Sebastian Bach (1685-1750) |
OVERALL NOISE RATING: 3 (No beeps or ticks, but I wonder where the soft background mumbling came from....)
The Noise Rating Index is a partially-objective measurement of pager and handphone blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits, intra-audience conversation and other mind-bogglingly inept noises emitted in the concert hall during actual performance of music. It is measured on a scale of 0 to 5, in increasing annoyance.
by Ng Yeuk Fan
Old Victoria Concert Hall seems to be a tad unfamiliar with the countertenor voice. The air was transmitting an unusual harmonic palette and the reflected sound took some getting used to. Indeed, this is my first experience listening to this unique voice category up close and personal - but Andreas Scholl's voice is no stranger to me. For more than two years, I have marvelled at his faultless instrument on compact disc (see sidebar) and tonight, I am convinced that I have been listening to the real thing.
How does one begin to review a critically-acclaimed performance such as Scholl's tonight?
Scholl's pre-interval programme of German Baroque Lieder is by and large easy listening and most songs are executed with effortless ease and virtuosity. However, one senses a lack of rehearsal as harpsichordist and singer were not completely in tune with each other in quite a few numbers, with Scholl taking the greater liberty of the two. The beautiful An den Schlaf and An die Eisamkeit in particular, suffered pacing problems as both performers were not able to freely emote in sync. My sympathies are with the singer tonight as I felt harpsichordist Markus Märkl could have allowed more flexibility in his accompaniment without significant loss of musicality or structure.
This was not true of the briskier numbers such as Der Reinsche Wein tanzt gar zu fein and Kunst des Küssens, which were executed with tight wit and superb nuance. Both performers were clearly immersed in the flight of music making and the warm harpsichord support was utterly dazzling. These were thorougly enjoyable pieces that had the audience in much controlled laughter.
The Bach numbers were simple and short magical pieces and the famous aria Bist du bei mir benefitted from Scholl's much more robust and warmer tone after the interval. One can only imagine the powress of Scholl on the operatic stage as Handel's Cantata Vedendo Amor was read with such an absorbing dramatic intensity. I was wholly enthralled. Here, Scholl tossed off running notes for the first time tonight and I was amazed by his accurate intonation and perfect, innate musical timing on "Rise Eurilla, rise amore". It is clear that Scholl's faultless instrument is matched by superbly vivid interpretations in both lieder and cantata.
Harpsichordist Markus Märkl displayed stunning keyboard virtuosity with a detached effortless style of keyboard playing. J.C. Ferdinand Fischer's Prelude and Chaconne VIII in G major is a delightfully teasing piece that was given a remarkably personal reading that borders on wild abandon. J.S. Bach's Prelude and Fugue in F Major, from Book II of The Well-Tempered Clavier, was again played with marked idiosyncrasy and the middle section came across somewhat messy with not enough attention paid to the internal structure of the complex fugue.
Tonight's concert is a testament of Andreas Scholl's miraculous instrument - I say this because I have not heard a more perfect counter-tenor voice in my 14 years of classical music experience. He is in full control of the mechanics of singing and though he had little opportunity to dazzle the audience with vocal pyrotechnics in tonight's offering, the subtle and deeply poetic programming offers insight into his remarkable artistry as a recitalist.
Andreas Scholl's countertenor is mellow-rich and supported throughout with a most wonderful chest resonance. This resonance in particular, adds a subtle timbre to all his middle to lower range range, amply demonstrated tonight. Though I am able to distinguish two distinct registers, especially when he makes large-interval jumps, it did not come across as an obvious fault (indeed, it need not) and untrained listeners will not be able to hear it. I am full of wonder what will become of this fascinating voice if it is already legendary in a short span of a 32-year-old!
Ng Yeuk Fan will recall this concert with sweet relish one day...
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638: 27.1.2000 ©NG Yeuk Fan
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