I think that the meaning of the term "countertenor" has changed quite a
bit since its first use, and it wouldn't surprise me if it parallels many
divergent practices across the Atlantic. To be crude - in England it means
a big ole choirboy, in France a high tenor (where 'tenor' means something
softer than in the US or Italy), and in the US a richer more vibrant kind
of voice. I think here in Canada it's closer to the British idea. As with
singing in general (and incidentally in brass playing) I tend to prefer the
American sound for the sheer sensual beauty that is cultivated.
Tako, I appreciate your 'issues' with reviewers who are perhaps unhappy
with the way the countertenor sound is headed historically (IMO just such a
richer, fuller sound, and not co-incidentally, wider acceptance) especially
since you clearly want to sing that way.
It could be argued by an antiquary that a counter tenor is whatever sings
the line above the cantus firmus, whether it be an alto, male or female, or
a trained duck. I personally would use it to describe Daniels as much as
Deller or Bowman et al and would include all high male singers who were not
either choristers or tenors, whether their vocal chords adducted
(adduced?)or not.
Perhaps I'm opening a can of worms, but it seems to me that amongst female
opera singers, some utilize adducted vocal chords and some don't. There is
a lot of falsetto going on, maybe since it is perceived as feminine. I'm
reminded of my (almost six years old) daughter who theems to have a bit of
a lithp. I would say that Jane Eaglen (to my loony ears) uses a lot more
falsetto in Bruennhilde's high bits, compared to the 'laser tone' of Birgit
Nilsson, yet Eaglen was marvellously in tune, while Nilsson had a tendency
to go sharp. More worms anyone? john
At 09:08 AM 5/26/00 -0700, you wrote:
>John Alexander Blyth <BLYTHE@B...> wrote:
>> I agree with you about an American School of countertenors -
>> when I first heard a Chanticleer recording I was bowled over by the
>> beauty of the high voices. In contrast with my first hearing of the
>> (admittedly remarkable) Hilliard Ensemble, which made my throat hurt
>> just to hear.
>
>I agree, Chanticleer CTs definitely have a more full bodied flavor than
>David James of the Hilliard Ensemble. What's funny is that Chanticleer
>was founded as an unofficial offshoot of San Francisco's Episcopal Grace
>Cathedral choir of Men & Boys. Even thought their roots are in Anglican
>performance practice, I suppose "Americana" has crept into their
>aesthetic!
>
>> It is also perhaps apropos that a reviewer in 'Gramophone' thought
>> that DD could better be described as a male mezzo-soprano.
>
>I have some issues with what these reviewers say about Daniels. This is
>often said of CTs that have a fuller sound. The implication is that by
>their very nature CTs have small voices and all sing with straight tone,
>and if they don't they can't be called countertenors.
>
>IMO, any countertenor with a true CT instrument who trains for the
>operatic repertoire will start to sound more like a female opera singer,
>since he is using a phonational technique similar to that of a woman
>(fully adducted cords for a true head voice instead of falsetto). The
>upper array of partials are similar in all singers using this mode of
>singing.
>
>-Tako
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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