Andreas Scholl, Symphony Hall, Birmingham

by Roderic Dunnett [The Independent, 9 November 2005]
Since Alfred Deller restored the countertenor voice to the concert stage, male singers have readily assayed roles once the preserve of the castrato. Farinelli, Guadagni, Rauzzini: these singers lorded it in Baroque opera. Tenducci was a firm favourite in Georgian England, but it was Senesino (Francesco Bernadi) who proved the unchallenged Handel interpreter in the early 1730s.