Being a countertenor is unusual enough.  Andreas Scholl, however, is
exceptional in many other ways.  Making his San Francisco debut tonight,
with the Orpheus Chamber Orchestra, in Davies Hall, the tall, engaging,
young German became an instant local favorite for some very good reasons.

Scholl has a pure, gloriously "musical" voice, coming from his entire
body - as far from a falsetto or head voice as it is possible. . .  and
then some - with a perfect projection that easily conquered Davies Barn,
fabulous diction and a legato to die for.  Here, at long last, is the King
of Countertenors among mere princes and barons.

The first of three Handel arias, "Ombra mai fu," from "Xerxes," would
normally be the culmination of a countertenor's presentation.  Here, it
was just something whetting the appetite.  "Pompe vane di morte," from
"Rodelinda," melted the audience, sung with a voice so pure, so powerful
even in quiet moments, that it started a celebration in the audience, to
continue and intensify throughout.  The closing notes came in a crescendo
that never ended - hours later, I can still hear it gain momentum.

And yet, it was the third selection, "Va tacito e nascosto," from "Giulio
Cesare," which presented Scholl in the amazing totality of his talent - the
beauty of bel canto, the dramatic fire of verismo, a glorious heldentenor.
. . just an octave higher.

Yet another aspect of the Scholl arsenal came in his unusual second set,
five traditional Irish songs:  the consummate entertainer, but without
cheapening the music - except in the encore, "Three Brothers," where his
singing three voices, including a true baritone, was needlessly jarring and
making a lie of his "true voice."

 From the a cappella opening of "Wife of Usher's Well," to the mini-drama
of "I Loved a Lass," to a most serious and honest rendering of "My Love
Is Like a Red, Red Rose," to "Wayfaring Stranger" and a grand 'Down by
the Sally Garden," Scholl sang from the heart, but with surpassing
intelligence.  How to sing full versions of five Irish folksongs in a
row and not make the set monotonous - listen to Scholl and you will know.

Variety was well served by the orchestra as well, the accompaniment
switching from classical to pop, from symphonic to Broadway.

The same lack of consistency did not serve Orpheus well in the otherwise
flawlessly-performed early selections:  Corelli's Christmas Concerto and
Telemann's Concerto in F Major for Flute and Bassoon did not appear to
belong any particular period.  Beautifully played, yes, but the music could
have come from 19th century romanticism just as well as the height of the
Baroque.  Susan Palma-Nidel - a no-nonsense, straight-arrow flutist - shone
here, as she did throughout the evening.  She was joined by violinist Eric
Wyrick and an amazing virtuoso harpsichordist, Robert Wolinsky, for the
orchestra's best performance, closing the concert:  a Brandenburg Concerto
No.  5 of perfect balance and wonderful singing.  It lacked only Scholl's
participation to make it even more memorable.

Janos Gereben/SF
[log in to unmask]