On Mon, 12 Mar 2001, Tako Oda wrote:
> arguably like the castrati of yesteryear. What the castrati did was
> not called falsetto - and we're not entirely sure that the modern
> operatic CTs muscle action is all that different from what they did.
My understanding of castrato physiology is that the gelding was done
before puberty began, thus preventing the natural surges of testosterone
that cause the lowering of the voice in most men. Thus, the castrato
would have no need to use falsetto, because his voice remained naturally
high. The countertenor, on the other hand, is a fully developed male who
controls his vocal production in order to sing in what are usually
considered female registers. I'm not sure I quite understand the
distinctions that are drawn in the countertenor world between male
sopranos/altos, falsettists, etc. It seems to me more that these are
subjective judgmental labels that are somehow supposed to imply a
superiority (aesthetic, technical?) of one over the other - though for the
life of me I don't know who sets the absolute standards by which one can
tell which type of countertenor is "better or "more real".
KM
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