Countertenor Max Emanuel Cencic singing Ah che non posso from La Fida Ninfa by Antonio Vivaldi (1678-1741)
httpv://www.youtube.com/watch?v=A5veoSNqIg4
Ok, so this is far from a high fidelity-video (the audio is thin and the balance isn’t perfect ~ blame the camcorder microphone), however all you young countertenors out there take note: Cencic is able to sing without tension at the quiet end of his dynamic range, and crescendo seamlessly with consistent vibrato and color. This stable approach serves him equally well on the highest pitches he sings here. He never pushes to make his voice work.
This is very stable and well setup singing, consistently vibrant and vitalized. Keep this in your ears as you are practicing; don’t give into the lure of ‘success’ by any means. 
Following the recent New York Times article on countertenors via a feature on Philippe Jaroussky (Who Can Resist a Man Who Sings Like a Woman? by Fernanda Eberstadt), I stumbled upon a critique by Bernard Gordillo (who deftly beat us to the punch). The NYTimes article once again brings up the old question of whether a countertenor is a genuine male voice type, or a feminine affectation.
