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Andreas Scholl

  • Countertenor


Andreas Scholl press reviews


“As Cesare, Andreas Scholl confirmed that in terms of technical prowess he is the finest countertenor of his generation. This was singing of masterful musicianship, never allowing the low tessitura of the role to deform his tone, which blossomed radiantly in the higher register. His florid singing was pristine, his stylistic sense unparalleled.”

Stephen Mudge, Opera News, January 2007


“German countertenor Andreas Scholl sang a recital in Carnegie’s Zankel Hall on April 11 that emphasized his ability, presently unsurpassed in his vocal category, to spin, float and stretch a legato line, and to hit the center of his music’s emotional truth.”

Leighton Kerner, Opera News, July 2006


“As the hero, Bertarido, Andreas Scholl was vocally commanding and musically impeccable, with a muscular sound that can be urgent or sweet. “Dove sei,” one of his signature pieces, won a huge and deserved ovation; the pianissimo ending was among the most ravishingly beautiful and technically accomplished feats I have heard in the house.”

Judith Malafronte, Opera News, July 2006

“Mr. Scholl's convincing presence and excellent countertenor voice received a loud and long reception on Tuesday.”

Bernard Holland, The New York Times, May 4, 2006

“There are more excellent countertenors before the public today than ever before
but one of them stands out above all others, as Caruso among tenors a century ago: Andreas Scholl."

Fanfare Magazine


Scholl's voice is pure and beautiful in sound, his taste exquisite, his pitch and diction immaculate. It is inadequate to compare Andreas Scholl to many other countertenors now working, even the finest of them.

Fanfare Magazine


“His technical excellence, his musicianship and the sheer beauty of that voice are virtually unmatched.”

The Independent


“His mercurial blend of intelligence, compassion and a ravishingly beautiful, dauntingly precise voice...”



“A ravishingly beautiful sound, a strong technique and commendable attention to poetic texts.”



“The subtle inflections, expressive sensitivities, tonal shading and musicianship ... provide delights that only fall within the gift of a few great singers in any one generation.”

Classic FM


“His singing voice is a thing of crystalline translucent purity, a surface of polished silver, as clean as a whistle.”

BBC Music Magazine



“German countertenor Andreas Scholl…cultivates a warm, soft-grained sound,…He traces arioso lines in a clean, well-bound tone and executes runs accurately and with dash in semi-aspirated articulations.”

Stephen Francis Vasta, Opera News, February 2006


“Andreas Scholl has the world’s most cultured counter-tenor voice. And during his three Handel arias, some 6,000 people scarcely dared breathe, let alone pop balloons, beep hooters, toss streamers or perpetrate any of the other prepubescent japes that make the Last Night the, er, unique occasion that it is. After Scholl returned in the even noisier second half and pulled off the same trick with a pianissimo folksong and a Purcell air, I would have backed him to have walked on water.”

Richard Morrison, The London Times, September 12, 2005


“His vocal tone was beyond reproach: its effortless floating quality, along with his relaxed posture, makes Scholl one of the most agreeable countertenors.”

David Vickers,, August 31, 2001



“The evening was a triumph for Scholl. His tone was consistently warm and vibrant, never cloying, and he conveyed the shifting moods of these remarkable songs with directness and passion. To Dowland’s “In darkness let me dwell,” he brought half-tints heavy with longing and resignation; to “I saw my lady weep,” a fine-grained sound poised between “grief and love”; and to “The water is wide,” rich, gorgeous tone. In longer ballads, including “Lord Rendall,” he displayed extraordinary abilities as a storyteller, drawing his rapt audience deep into the melancholy recesses of these traditional masterworks.”

M. Lignana Rosenberg, Opera News, January 2005


“His clear, bright countertenor has a boyish freshness that matched the animation he brought to the songs and two [Handel] cantatas.Leaning forward as if to whisper in our ear, raising an eyebrow, gesturing dismissively at a fair maiden’s scruples, he was an irresistible storyteller. Romping nimbly though Nauwach’s “Ah, my love, let us hasten,” he was a wily little seducer, the guileless purity of his vocal tone belying the ages-old male argument that the young lady in question should start making love, preferably to him, before she is too old a dried up and decayed to be worth seducing.”

Wynne Delacoma, Chicago Sun-Times, January, 2003


“Scholl, his voice dusky and sensuous, caressed the syllables in each, stretching and folding phrases with thrilling ease. He never ceased to amaze and enthrall.”

Ted Shen, The Chicago Tribune, January 26, 2003