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Hello and thank you for joining us as we officially launch The Countertenor Voice: An Online Journal. Together with our parent company, Counterpoints Publishing LLC, we at the journal are excited to bring you our first installment of articles and reviews. In this month’s online journal, Oliver reviews Jaroussky, I broach the subject of whether the countertenor sound is as tied to the Anglican and early music movements as it used to be (and we invite you to take a quick survey on the subject), we listen to a fierce Polish contralto, and we introduce our initial offering of scores for purchase and download.
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Archive for January, 2011
Feature: Are We Post-Anglican Yet? Part 1
January 1, 2011
The Anglican Church was the keeper of a male alto sound that justly captured the imagination of the nascent early music movement. This article asks whether today’s countertenor sound is inherently tied to that tradition, as one cannot help but notice that recent generations of countertenors have found themselves less restricted to this aesthetic. This article aims to begin a conversation about what is inherent versus chosen in the countertenor sound, and – if you are a countertenor – we hope that you will take our brief survey on the subject.
Philippe Jaroussky Opium: A Review
January 1, 2011
Reviewer Oliver Camacho was both skeptical and enthusiastic about this late 2009 release of French mélodies. It is comprised of French mélodies that collectively feel like a meal made of flakey pastries; however, they individually delight in the same way. Could a countertenor d’agilità pull off a 66 minute recital of belle-époque parlor songs that have previously been the domain of the great Gérard Souzay, Pierre Bernac, and Maggie Teyte?
In a word, Ouais…
Young countertenors take note that you need not be confined to Handel and Caldara if you can do it all as well as the featherweight champion.
Are you a Countertenor? Take our Survey
January 1, 2011
We want to know what you think the ideal countertenor sound is, what qualities you strive for in your own sound, and what experiences dictate the choices you make. Read our feature article this month, Are We Post-Anglican Yet: Part 1?, take our survey, and pass it along to your colleauges. Welcome to the Countertenor Voice community!
Feature: Counterpoints Publishing Announces Initial Repertory to be Offered
January 1, 2011
Our team of elves has been hard at work crafting high quality, original piano/voice editions of countertenor appropriate arias. These scores are crisp and clean and incorporate a number of innovations (including an ossia stave for working out your ornaments). We are excited to announce these arias by Handel, Bach, and Mozart. They will be offered in our initial release (which we expect to be online and available for purchase by January the 15th).
Watch this Now! Ewa Podleś sings Vivaldi
January 1, 2011
httpv://www.youtube.com/watch?v=K_lIp17J3nQ&feature=related
There are no words to adequately describe Ewa Podles’ voice, or her completely quirky way of delivering on stage. However, this performance of Orlando’s aria Nel Profondo Cieco Mondo from Antonio Vivaldi’s (1678-1741) opera Orlando Furioso (1727) is a great example of 1) a full commitment to the integrity of the line regardless of the coloratura and 2) setting the tempo so that you sound good singing all the little black notes. Others might try to sing this faster, but this performances is completely within her control and absolutely exciting! She performs here with the Russian State Chamber Orchestra conduced by Konstantin Orbelian.
The Final Word: We Want You!
January 1, 2011
The Countertenor Voice is a new venture, and we need curious readers like you to spread the word. If you like what you have read here, tell your colleagues and repost our pieces on Facebook. If you are a writer and think that you would like to contribute to a future issue, send us an email through the contact page. We are interested in a wide variety of issues that surround the countertenor experience; upcoming stories include a piece on gender and embodiment issues, and repertory primers for aspiring singers. We would also like to receive suggestions for CDs and DVDs to review, and arias that you would like to see Counterpoints Publishing engrave.
We can’t do any of this without you! If you like what we have started, let the world know 
.
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