# Poll of Favorite Counter Tenor



## Seattleoperafan (Mar 24, 2013)

For me the 60's were like the Golden Age of Opera with the amazing super stars performing then, but we now appear to be living in the most golden time of male sopranos and altos since the age of the castrati. Pick your favorite. All are wonderful in their own way.


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## Jobis (Jun 13, 2013)

Franco for me, no contest.


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## Seattleoperafan (Mar 24, 2013)

I love, love, love Franco, but I have a hard time watching him as he has weird facial contortions when he sings.. Jarousky is like Maria Callas and brings everything to life with every move and gestures. For sheer beauty of tone David Daniels is hard to beat but his top and his coloratura are not as good as some others. Hansen misses the mark on his trills but has everything else including a true soprano top and a gorgeous integration of the middle and lower parts of the alto voice, not to mention the fact that he has matinee idol looks.


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## Itullian (Aug 27, 2011)

By far my favorite............


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## StlukesguildOhio (Dec 25, 2006)

For me, Jaroussky is the young countertenor to beat... but I have to consider their achievements... and as of now Scholl leads the way with the most recordings that I consider essential.


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## DarkAngel (Aug 11, 2010)

We have to thank Naïve label Vivaldi opera project for steady supply of new singers, as well as Alan Curtis, Renee Jacobs etc newer Handel Italian opera releases.

The newest releases show great and exciting development in baroque da capo singing with thrilling imaginative vocal ornament, and clarified orchestral line with enhanced continuo

Any discussion of new generation of counter tenor must begin with the reigning king *Philippe Jaroussky

*


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## Tsaraslondon (Nov 7, 2013)

Daniels all the way for me. A voice of great beauty, wonderful musicality, a way with words, all allied to a gift for communication second to none, something I have gleaned not just from records, but from the countless times I have heard him in the flesh.


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## mamascarlatti (Sep 23, 2009)

Andreas Scholl has to my ears the most beautiful voice, and was the reason I first started loving counter-tenors. He doesn't do many full operas - I can only think of Rodelinda, Giulio Cesare and Partenope.

Jaroussky has wonderful artistry and has tackled some unusual repertoire with surprisingly good results - eg French melodies in his album "Opium".

Max Emanuel Cencic is an exciting singer - and is a leading light in interesting projects such as the Vinci Artaserse from Nancy.

To your list I must add Iestyn Davies, Valer Sabadus, and Tim Mead. They deserve to be up there in the poll. And if they were I would vote for Valer Sabadus.


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## Woodduck (Mar 17, 2014)

GregMitchell said:


> Daniels all the way for me. A voice of great beauty, wonderful musicality, a way with words, all allied to a gift for communication second to none, something I have gleaned not just from records, but from the countless times I have heard him in the flesh.


All true - and it's quite all right to mention that he's cute as a button too. 

And now, having revealed too much, I shall cast a serious vote for Jaroussky's tonal brilliance, range, virtuosity,and expressiveness, while realizing, CD cover photo to the contrary, that he's no Farinelli. Thank goodness for that.


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## Marcel (Aug 14, 2014)

In all find virtues; that is why it is almost impossible to choose just one.


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## Seattleoperafan (Mar 24, 2013)

I would go out of my way to see any of these singers and with their talent, acting chops and vocal beauty and brilliance I would say several of these impress me more than any divas out there today.


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## mamascarlatti (Sep 23, 2009)

Oh I forgot Mr scary bad guy himself, Xavier Sabata.


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## mamascarlatti (Sep 23, 2009)

Seattleoperafan said:


> I would go out of my way to see any of these singers and with their talent, acting chops and vocal beauty and brilliance I would say several of these impress me more than any divas out there today.


The only one I have heard in person was Andreas Scholl. That was a red letter day, his visit to Auckland.


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## Pugg (Aug 8, 2014)

I do miss the option : None of the above / don't like counter tenors:lol:


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## Tsaraslondon (Nov 7, 2013)

Pugg said:


> I do miss the option : None of the above / don't like counter tenors:lol:


Neither did I until I heard Daniels (live, not on record).


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## Pugg (Aug 8, 2014)

GregMitchell said:


> Neither did I until I heard Daniels (live, not on record).


I do remember him standing next to Fleming and he was so exited and said something in the frame of:

"O my god , I am standing near the great Reneé Fleming, I do have to tell my boyfriend about it"


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## Tsaraslondon (Nov 7, 2013)

Pugg said:


> I do remember him standing next to Fleming and he was so exited and said something in the frame of:
> 
> "O my god , I am standing near the great Reneé Fleming, I do have to tell my boyfriend about it"


Then we have something in common. I've appeared on stage with Fleming too  And what a lovely lady she is!

Daniels' boyfriend is now his husband by the way.


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## Lukecash12 (Sep 21, 2009)

Seattleoperafan said:


> I would go out of my way to see any of these singers and with their talent, acting chops and vocal beauty and brilliance I would say several of these impress me more than any divas out there today.


Several? Try all of the ones mentioned so far, imo.

By the way, if Alfred Deller hasn't been mentioned I'd like to say that for me it's a toss up between him and Jaroussky. Deller sings very well in alto parts, he mostly affects me with his light tone, his inflection and phrasing seem like he's pulling taffy, and he just kills me with his refrain and complete sense of control with dynamics. I like his style in that he doesn't try to sound piercing, isn't as eager and ready as others to let loose at every perceived opportunity. When he decides too it is just as effective, if not more for me because he meters it out, however when he affects me the most is when he uses gradual and poignant changes, my tastes have always been better suited by singers who like to refrain in their phrases and this is probably so because of how much cantatas and oratorios I listen to.






Just listen as he says "sorrows" and "grief", he's pulling taffy and although he's tugging lightly it feels like a hard tug for me, especially because of the subject matter.






Here we see how warm his lower range is, and a few intoxicating trills birdlike in timbre, he has this habit of trailing off often at the end of a phrase. Btw, sorry folks if some of you are sensitive to pitch like myself (I can't help it, it's the price of being a piano tuner) and the intonation of the strings in that recording bothered you.


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## Pugg (Aug 8, 2014)

GregMitchell said:


> Then we have something in common. I've appeared on stage with Fleming too  And what a lovely lady she is!
> 
> Daniels' boyfriend is now his husband by the way.


Are you a singer to if you don't mind me asking? 
I saw Renée twice, the Handel program at the Concertgebouw and in Rotterdam .
I spoke briefly and giving a little present.
New Years Eve this year in the MET, can't wait.


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## BaronScarpia (Apr 2, 2014)

Definitely David Hansen for me. Never before have I heard such a rich, powerful countertenor voice. The only falsettist whose vocal quality is even close to his is Jochen Kowalski. Generally, I find that countertenors have small, narrow voices with little possibility for dramatic expression through the use of different vocal colours. Jaroussky is a good example. I do like Iestyn Davis, though. Fagioli is a bit like a countertenor version of Carreras, in my opinion, but with the constricted high notes of Cecilia Bartoli. Andreas Scholl has an extremely beautiful voice, certainly, and his musical intelligence is second to none, but I find he uses one 'angelic', pure vocal colour all the time. Very boring.


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## Seattleoperafan (Mar 24, 2013)

BaronScarpia said:


> Definitely David Hansen for me. Never before have I heard such a rich, powerful countertenor voice. The only falsettist whose vocal quality is even close to his is Jochen Kowalski. Generally, I find that countertenors have small, narrow voices with little possibility for dramatic expression through the use of different vocal colours. Jaroussky is a good example. I do like Iestyn Davis, though. Fagioli is a bit like a countertenor version of Carreras, in my opinion, but with the constricted high notes of Cecilia Bartoli. Andreas Scholl has an extremely beautiful voice, certainly, and his musical intelligence is second to none, but I find he uses one 'angelic', pure vocal colour all the time. Very boring.


Baron, I do agree with much that you said, but I heard David Daniels live and his voice was not small. I could hear him over the orchestra without any difficulty and it was very rich in color. I cannot speak to the others, who I have not heard live.


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## Divasin (Aug 8, 2014)

Just to make things interesting don't forget Iestyn Davies first heard/seen by me in the Met HD Rodelinda and nominated as Gramophone artist!

P.S. my first post.. been lurking while but have beenenjoying many discussions!


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## deggial (Jan 20, 2013)

Iestyn is great as well, wonderful Ottone in Poppea. Fagioli is the man, though. I'll see him next month and in October


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> Baron, I do agree with much that you said, but I heard David Daniels live and his voice was not small. I could hear him over the orchestra without any difficulty and it was very rich in color. I cannot speak to the others, who I have not heard live.


I've heard Daniels live at venues as diverse as the Barbican Hall, the Queen Elizabeth Hall, the Royal Festival Hall, the Wigmore Hall and the Royal Opera House, and at none of them did he have any difficulty being heard. It is a voice of unusual warmth and carries beautifully.


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## schigolch (Jun 26, 2011)

I have heard live all of the seven singers mentioned in the survey, as well as a few other countertenors. 

David Hansen's voice is beautiful and of a remarkable homogeneity. He is capable of really managing coloratura in an imaginative, but also precise, way. He projects well, though his voice is rather small, and occasionally it could create some problems for him to be heard in big theaters (I heard him in Seville's "La Maestranza" that is around 1,800 seats). I liked a lot his CD "Rivals".

I'm afraid I don't like as much Mr. Cencic. 

About Mr. Jaroussky, he is the one I know best. I have listened to him several times, both in Opera and recital. He impressed me as Nerone, and in everything Vivaldi. But maybe what I like the most from him is his CD "Opium". I simply love French mélodies, and it was both a shock and a pleasant surprise to hear something like 'A Chloris' in his voice.

Mr. Scholl's voice resembles very much an infant's, and so is not really the best for dramatic purposes, in many cases. I think is better suited to sing what he really sings mostly, than to Opera. I was certainly not really impressed in any case when he sang in Madrid. A refined singer, but also a difficult, and small, voice for the stage.

The first time I listened to David Daniels in the theater was singing Oberon, from Britten's "A Midsummer Night's Dream" and I really enjoyed it. Nice, very nice voice. Not a big one, not by any means, but well projected. He is also very effective singing Baroque. 

I'm decidedly a fan of Mr. Fagioli. His (rapid) coloratura is breathtaking, as well as his range, and the way he can handle impressive jumps from high notes to low notes. His voice also fills the theater without any issue. True, the low notes are a little bit forced here and there, and the high notes are occasionally open, but this is a small price to pay (in my view) for all the good things in his singing.

Mr. Mehta,... I do like him in contemporary opera, such as in "Written on Skin", but even there I sometimes have the feeling he should be singing the Protector, rather than the Boy.


All in all, I'd say my sentimental favorite is Mr. Jaroussky, but I'm also very keen on Mr. Fagioli.


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## BaronScarpia (Apr 2, 2014)

Seattleoperafan said:


> Baron, I do agree with much that you said, but I heard David Daniels live and his voice was not small. I could hear him over the orchestra without any difficulty and it was very rich in color. I cannot speak to the others, who I have not heard live.


Erm, I didn't actually talk about David Daniels. I haven't really listened to him all that much, so I can't comment, but I've heard excellent reviews.


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## Posie (Aug 18, 2013)

Philippe Jarousky is my #1 ; Andreas Scholl is my #2. Max Emanuel Cecic has a great voice, but his singing is just too technical, not enough emotion for me.


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## Marcel (Aug 14, 2014)

In reality, there is much more than five countertenors and each arouses me a wow of admiration. We should include in an extensive list also to Maarten Engeltjes, Robin Blaze, Yoshikazu Mera, Xavier Sabata, Alfred Deller, Paul Esswood, James Bowman, Daniel Taylor, Lawrence Zazzo, Michael Chance, all I have found virtues and, as happens in different registers, their voices have excelled in various roles.


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## deggial (Jan 20, 2013)

Marcel said:


> In reality, there is much more than five countertenors


who knew! How's about Christophe Dumaux? Check out his mad dance skillz:


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## mamascarlatti (Sep 23, 2009)

deggial said:


> who knew! How's about Christophe Dumaux? Check out his mad dance skillz:


Christophe Dumaux owns that role. He was great in Cavalli's Giasone too.


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## TravisTouchdown (Aug 17, 2014)

Seattleoperafan said:


> For me the 60's were like the Golden Age of Opera with the amazing super stars performing then, but we now appear to be living in the most golden time of male sopranos and altos since the age of the castrati. Pick your favorite. All are wonderful in their own way.


Mera is my favourite, as he sounds the sweetest, most female-like, not squeaky. I would have liked him even more if he was a sopranist. On my comparisons with Scholl, Mera definitely comes out on top. 




I like the alto of Deller as well, but he has more of a male timbre. He doesn't sound "squeaky" though - there are no breaks where his voice chokes. 
Jaroussky is not my fave. To me, both Jochen Kowalski and David Hansen sounds more pleasing, with more consistent timbre. 




I get the whole ornamentation and technique-thing. I do see that Cencic is really good in that respect, head and shoulders above what e.g Deller does technically, but I just don't fancy his timbre that much. Resembles the timbre of Zazzo.


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## TravisTouchdown (Aug 17, 2014)

I like his image. Relaxed (not wide-open crazy looking like Hansen) and without any facial mr.Bean features (like Jaroussky). Cencic also looks okay while performing.


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## mamascarlatti (Sep 23, 2009)

And Iestyn Davies' Restoration recital just won the Recital award from Gramophone magazine"


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## DonAlfonso (Oct 4, 2014)

I first learned to appreciate the counter tenor voice seeing a local production of Poppea in 1993 but seeing Michael Chance in Opera Australia's production of Dream in 1994 blew my mind. I was lucky to be a patron of the company at the time so saw about 4 performances including dress rehearsals. It was taken to the Edinburgh festival that year for only two performances and I don't think there's any video, there is some of the 2010 production (different cast) on Youtube.


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## Tsaraslondon (Nov 7, 2013)

David Daniels at his finest.


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## Seattleoperafan (Mar 24, 2013)

I just did this speech for my Toastmasters club on the castrati and today's counter tenors. Some were freaked out, but a surprising number of very jock type straight men were very impressed. The video quality turned out better than on any other speech I did. I could have spliced in the actual video clips I used, but I decided to show how I used the tech.


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> David Daniels at his finest.


Absolutely fantastic singing.

I listened to the entire thing while I was looking at other webpages, and I really must say that on a subconscious level Daniels' singing reminded me of perhaps Dame Janet Baker's younger sister. . . had she one.


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## EdwardBast (Nov 25, 2013)

I would have voted for Daniels had I noticed the poll earlier. I first heard him at a party when we were both music students, perhaps before he decided to be a countertenor? In any case, I think he was wearing a towel or toga and singing soprano arias outside the countertenor rep — foggy memory. But I do remember he made a great impression on some of the non-musicians there as well.


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## Bellinilover (Jul 24, 2013)

Of the ones on the list I'd say Daniels, but I think my overall favorite is a countertenor named David Walker. 

My brother, the Baroque violinist, is fond of Michael Chance, whom I'm not familiar with.


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## Seattleoperafan (Mar 24, 2013)

I saw Daniels at a recital here in Seattle and he was one of the finest recitalists I've ever seen. Tons of magnetism and such a beautiful voice that easily filled the whole hall.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> I saw Daniels at a recital here in Seattle and he was one of the finest recitalists I've ever seen. Tons of magnetism and such a beautiful voice that easily filled the whole hall.


I've seen him in recital here in London on many occasions. My impressions were exactly the same, plus a winning platform manner and a wonderful gift for communication. I think he is one of the greatest singers of the present age - in any voice category.


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## BalalaikaBoy (Sep 25, 2014)

vocally: NONE! 
physically: Phillippe Jarrousky (hard to believe he's *36*. doesn't look a day over 23)


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## Couac Addict (Oct 16, 2013)

When you look at the list, you appreciate how spoiled for choice we are lately.


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## Tsaraslondon (Nov 7, 2013)

BalalaikaBoy said:


> vocally: NONE!
> physically: Phillippe Jarrousky (hard to believe he's *36*. doesn't look a day over 23)


Why vocally none? So many of the men on this list have truly beautiful voices.

I admit I used to have a thing about countertenors, finding them a bit hooty. But then I'd only heard Alfred Deller and James Bowman, whose historical significance, however, can't be underestimated.

That all changed when a friend took me to hear David Daniels live at the Barbican Centre. I was knocked out completely by the beauty of his voice, the musicality, his gift for communication, and his way with words.

Since then I've also come to admire many others. We are truly living in a golden age of the countertenor.


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> Why vocally none? So many of the men on this list have truly beautiful voices.
> 
> I admit I used to have a thing about countertenors, finding them a but hooty. But then I'd only heard Alfred Deller and James Bowman, whose historical significance, however, can't be underestimated.That all changed when a friend took me to hear David Daniels live at the Barbican Centre. I was knocked out completely by the beauty of his voice, the musicality, his gift for communication, and his way with words.
> 
> Since then I've also come to admire many others. We are truly living in a golden age of the countertenor.


I'm getting won-over, myself. Anyone who can make my ears think that they're related to Janet Baker gets my absolute, undivided attention.


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## Couac Addict (Oct 16, 2013)

GregMitchell said:


> Why vocally none? So many of the men on this list have truly beautiful voices.
> 
> I admit I used to have a thing about countertenors, finding them a bit hooty. But then I'd only heard Alfred Deller and James Bowman, whose historical significance, however, can't be underestimated.
> 
> ...


It's a very unforgiving voice type. You really have to be excellent at it or you'll end up sounding like Barry Gibb. There's no middle ground.


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## dgee (Sep 26, 2013)

I always feed this onto countertenor threads but so great why not:






The real countertenor music no need for fear


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## Musicforawhile (Oct 10, 2014)

I love the countertenor sound. My favourite on this list would be Andreas Scholl, and he is one of my favourite singers in general. Haven't heard him live yet though unfortunately. James Bowman sounded ethereal when I heard him in a concert. I also like Fagioli, and I would have thought Iestyn Davies would be on this list. Hearing him is like seeing perfectly formed crystals appearing before you, but it's audial..if you know what I mean.


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## Tsaraslondon (Nov 7, 2013)

Couac Addict said:


> It's a very unforgiving voice type. You really have to be excellent at it or you'll end up sounding like Barry Gibb. There's no middle ground.


But there are so many good ones around these days. I can name more good countertenors than I can good Verdi sopranos


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## Tsaraslondon (Nov 7, 2013)

dgee said:


> I always feed this onto countertenor threads but so great why not:
> 
> 
> 
> ...


Thanks. I rather enjoyed that!


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## nina foresti (Mar 11, 2014)

I've tried, I really have. But I just can't cotton to that sound. They all sound like Julia Child to me.


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## Tsaraslondon (Nov 7, 2013)

nina foresti said:


> I've tried, I really have. But I just can't cotton to that sound. They all sound like Julia Child to me.


I had no idea Julia Child sang! :lol:


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## Itullian (Aug 27, 2011)

nina foresti said:


> I've tried, I really have. But I just can't cotton to that sound. They all sound like Julia Child to me.


I'm with you all the way Nina. Can't stand them.

Except for Tiny Tim of course.


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## Marschallin Blair (Jan 23, 2014)

Itullian said:


> I'm with you all the way Nina. Can't stand them.
> 
> Except for Tiny Tim of course.


Ha. Ha. Ha. Ha. Ha. Ha.

Sorry.

That was coffee-leaving-my-mouth funny.

Thanks a lot, Itullian.

Now I have to clean it up.

I will no doubt square our account.


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## Tsaraslondon (Nov 7, 2013)

Itullian said:


> I'm with you all the way Nina. Can't stand them.
> 
> Except for Tiny Tim of course.


I despair. Neither of you have "heard" David Daniels. I mean you may have listened, but you didn't hear. :lol:


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> I despair. Neither of you have "heard" David Daniels. I mean you may have listened, but you didn't hear. :lol:


No doubt a charge he'd levy at Greg if Greg were to crudely characterize and cavalierly dismiss Itullian's idol Ian Anderson of Jethro Tull.

-- Isn't that right, Itullian?
_
;D_


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## StlukesguildOhio (Dec 25, 2006)

If there is an group of vocalists today who not only rival but surpass those of yesterday, it most certainly is the counter-tenors. We are clearly witnessing a "golden age" of the genre. For most soprano or mezzo roles I tend to prefer the female voice... but Jaroussky, Scholl, Bejun Mehta, etc... have made me reconsider this.


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## Tsaraslondon (Nov 7, 2013)

Marschallin Blair said:


> No doubt a charge he'd levy at Greg if Greg were to crudely characterize and cavalierly dismiss Itullian's idol Ian Anderson of Jethro Tull.
> 
> -- Isn't that right, Itullian?
> _
> ;D_


Except I don't really know who Ian Anderson is, though I've _heard of_ Jethro Tull. I can't in all honesty say I've ever _heard_ them.


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> Except I don't really know who Ian Anderson is, though I've _heard of_ Jethro Tull. I can't in all honesty say I've ever _heard_ them.


YOU'VE

GOTTTTTTT

TO BE

KIIIIIIIIIIDDING

ME.

Jethro Tull is in your neck of the woods. I'm here in the States and they're legends; not as big as the Who or the Stones, to be sure; but legends all the same. Not my cup of tea, but I know of a lot of people who love the band and their eccentric flautist, Ian Anderson. In fact, my senior-year high school literature teacher practically worshipped Tull. His enthusiasms would make Itullian blush like a little girl.


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## Marschallin Blair (Jan 23, 2014)

StlukesguildOhio said:


> If there is an group of vocalists today who not only rival but surpass those of yesterday, it most certainly is the counter-tenors. We are clearly witnessing a "golden age" of the genre. For most soprano or mezzo roles I tend to prefer the female voice... but Jaroussky, Scholl, Bejun Mehta, etc... have made me reconsider this.


<In my Alaska Thunderf*#k voice>: "_Aaaaaaaaaaab-sooooooooooooo-LUUUUUUUUUUUUUUUUUUTE-lyyyyyyyyyyyyyyyy."_

If you don't know who she is, you need to get out to the clubs more.






(How you say "Absolutely" comes in at 1:29.)

Ha. Ha. Ha. Ha. Ha. Ha. . .

Oh, God!

You should see me when I talk to some of the people at my work like this. . . ESPECIALLY on Fridays.


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## Woodduck (Mar 17, 2014)

Marschallin Blair said:


> YOU'VE
> 
> GOTTTTTTT
> 
> ...


Hey! I'm just as ignorant of American pop music as Greg, and I'm an American! I want one of your incredulous, mocking, eye-rolling put-downs too! Pleeeeeeeeze?


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## Itullian (Aug 27, 2011)

That's OK. Greg's cool anyway.


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## Couac Addict (Oct 16, 2013)

GregMitchell said:


> But there are so many good ones around these days. I can name more good countertenors than I can good Verdi sopranos


I completely agree but I wouldn't stop at just Verdi...or sopranos for that matter.
We saw Tosca last night and during the interval we tried to make a list of a 'dream Tosca ensemble' from today's singers. That proved to be harder than it sounded. Everyone on the list qualified by default and few alternatives.


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## Musicforawhile (Oct 10, 2014)

Also Derek Lee Ragin. I like his 'L'empio sleale.'


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## Marschallin Blair (Jan 23, 2014)

Woodduck said:


> Hey! I'm just as ignorant of American pop music as Greg, and I'm an American! I want one of your incredulous, mocking, eye-rolling put-downs too! Pleeeeeeeeze?


When have I ever said anything disparaging about Greg? You, Dear, are a different matter. _;D_


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## Woodduck (Mar 17, 2014)

Marschallin Blair said:


> When have I ever said anything disparaging about Greg? You, Dear, are a different matter. _;D_


You mean... I win? Yippeeeee!


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## Marschallin Blair (Jan 23, 2014)

Woodduck said:


> You mean... I win? Yippeeeee!


First place! The whip, the high-heel boots. . . the _works_.


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## tdc (Jan 17, 2011)

Not really my area of expertise, but I would vote for Scholl just because of his excellent performance in this:


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## Couac Addict (Oct 16, 2013)

At least counter-tenors don't have to worry about losing the high notes from taking the Pill.


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## BalalaikaBoy (Sep 25, 2014)

GregMitchell said:


> Why vocally none? So many of the men on this list have truly beautiful voices.
> I admit I used to have a thing about countertenors, finding them a bit hooty. But then I'd only heard Alfred Deller and James Bowman, whose historical significance, however, can't be underestimated.


because, whether male or female, I like _strong_ voices. "hooty" was a perfect way to describe it. counter tenors just don't have enough weight or authority to satisfy my ears and sound like they're singing away from their core (because, generally, they are). the reason I like opera more than other forms of music is because the singing projects power, confidence and gravitas.


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## Marschallin Blair (Jan 23, 2014)

BalalaikaBoy said:


> because, whether male or female, I like _strong_ voices. "hooty" was a perfect way to describe it. counter tenors just don't have enough weight or authority to satisfy my ears and sound like they're singing away from their core (because, generally, they are). the reason I like opera more than other forms of music is because the singing projects power, confidence and gravitas.


I understand what you're saying. . . but then again, not all drama is stentorian declamation either. Psychological subtelty and suavity counts for something. . . with me anyway.


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## Tsaraslondon (Nov 7, 2013)

BalalaikaBoy said:


> because, whether male or female, I like _strong_ voices. "hooty" was a perfect way to describe it. counter tenors just don't have enough weight or authority to satisfy my ears and sound like they're singing away from their core (because, generally, they are). the reason I like opera more than other forms of music is because the singing projects power, confidence and gravitas.


And there is absolutely nothing "hooty" about the singing of David Daniels or Phillippe Jarousky, to name just two on the list. Daniels I have heard live in large concert halls like the Barbican and the Royal Festival Hall, and also at the Royal Opera House, Covent Garden. He has absolutely no problem being heard and his legato line takes him a long way from what I'd describe as "hooty". In fact he has one of the best legatos to be heard anywhere today.


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> And there is absolutely nothing "hooty" about the singing of David Daniels or Phillippe Jarousky, to name just two on the list. Daniels I have heard live in large concert halls like the Barbican and the Royal Festival Hall, and also at the Royal Opera House, Covent Garden. He has absolutely no problem being heard and his legato line takes him a long way from what I'd describe as "hooty". In fact he has one of the best legatos to be heard anywhere today.


I'm in deeply-moved agreement.

Which cd of his various cd's would you recommend for starters? I have to have one.


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## Tsaraslondon (Nov 7, 2013)

Marschallin Blair said:


> I'm in deeply-moved agreement.
> 
> Which cd of his various cd's would you recommend for starters? I have to have one.


Probably one of his Handel discs.

This one has _Cara sposa_ on it, which he sings in the video I displayed earlier.


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## Marschallin Blair (Jan 23, 2014)

Ordered.

_Merci._

_;D_


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## BalalaikaBoy (Sep 25, 2014)

Marschallin Blair said:


> I understand what you're saying. . . but then again, not all drama is stentorian declamation either. Psychological subtelty and suavity counts for something. . . with me anyway.


I think _both_ are required, which is why, in another thread, I said that dramatic sopranos are overrated. give me an elegant spinto soprano voice with graceful high notes and delicate phrasing over a wobbling Wagnerian soprano any day of the week.


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## Tsaraslondon (Nov 7, 2013)

BalalaikaBoy said:


> I think _both_ are required, which is why, in another thread, I said that dramatic sopranos are overrated. give me an elegant spinto soprano voice with graceful high notes and delicate phrasing over a wobbling Wagnerian soprano any day of the week.


Smaller voices can have amazing penetration. Janet Baker did not have a large voice, but she could make her quietest _pianissimi_ reach to the furthest reaches of a large house.

I never heard Schwarzkopf live, but apparently she too had a smallish voice. In one of the books I have she talks at length about the techniques she would use to make herself heard above fairly large orchestras in Verdi and Strauss, none of them to do with forcing or over-singing. Even at the end of a very long career, Schwarzkopf's voice never lost firmness, so she certainly knew what she was about.


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## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> Smaller voices can have amazing penetration. Janet Baker did not have a large voice, but she could make her quietest _pianissimi_ reach to the furthest reaches of a large house.
> 
> I never heard Schwarzkopf live, but apparently she too had a smallish voice. In one of the books I have she talks at length about the techniques she would use to make herself heard above fairly large orchestras in Verdi and Strauss, none of them to do with forcing or over-singing. Even at the end of a very long career, Schwarzkopf's voice never lost firmness, so she certainly knew what she was about.


Greg, tell everyone about her "moonlight-voice" story at the masterclass of hers you attended. I think its a wonderful story that deserves to be shared.


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## Tsaraslondon (Nov 7, 2013)

Marschallin Blair said:


> Greg, tell everyone about her "moonlight-voice" story at the masterclass of hers you attended. I think its a wonderful story that deserves to be shared.


Oh yes. I attended, in the audience, some of Schwarzkopf's Masterclasses, with my singing teacher who was a huge Schwarzkopf fan. Schwarzkopf herself stated right at the beginning that these classes were not about her, and that she would not be singing (slight murmur of disappointment from the audience), and for most of the time she was true to her word. If she sang a phrase to indicate the moment she was talking about, it was always an octave down and just a few notes.

At one point, however, she was trying to explain to a soprano student that she needed to mirror the the accompaniment when she started singing, so the voice didn't jar as it entered. I can't remember which song it was (maybe it was Schumann's _An den Mond_), but I remember her saying something along the lines that the singer needed to get something of the moonlight into her voice. They went over it again and again, until eventually Schwarzkopf sang the first few lines herself at pitch. And there it all was, the moonlight in the voice, the beauty of the moonlit night. The audience just gasped, but that was all we got. Some things you can't teach!


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## Seattleoperafan (Mar 24, 2013)

With current counter tenors, because so many are so handsome, expressive and good at acting I would recommend watching a video on Youtube for an introduction. Try Alto Giove by Phillippe Jaroussky. His whole body is involved in his communication. There is a marvelous video of Daniels singing a song by Purcell that is heavenly. He is not a pretty boy but is manly handsome.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> There is a marvelous video of Daniels singing a song by Purcell that is heavenly. He is not a pretty boy but is manly handsome.


He does it for me


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## BalalaikaBoy (Sep 25, 2014)

anyone heard of Igor Manashirov? I found this performance interesting, if not a little unorthodox


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> anyone heard of Igor Manashirov? I found this performance interesting, if not a little unorthodox


Very interesting. He better be careful singing like that in Russia... if you know what I mean.


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## BalalaikaBoy (Sep 25, 2014)

Seattleoperafan said:


> Very interesting. He better be careful singing like that in Russia... if you know what I mean.


lmfao! :lol:
pretty soon everyone will be singing bass over there out of paranoia


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