The term 'countertenor' is often ridiculed as a representing a stiff operatic screech; it actually just describes men singing in high voice (usually, but not exclusively falsetto). This is often technically difficult and thrilling (think Jimmy Somerville or Mitch Grassi) but can also be haunting and beautiful (Jeff Buckley).
Brisbane Baroque brought three impressive countertenors to town for both 'Agrippina' and an evening of their own chosen repertoire. 'The Art Of The Countertenor' showcased the Baroque era's championing of this exciting style of singing and demonstrated just how varied and expressive it can be.
The singers were accompanied by a small group of period instruments from the Orchestra of the Antipodes, conducted energetically from the keyboard by their Director, Erin Helyard. Although it took a little while for the orchestra to settle and become secure, they kept their heads under his guidance and regained calm waters for the soloists. Erin's evident enjoyment of the collaboration added to the charming rapport between the performers (and audience).
Owen Willetts was the first countertenor to take the stage with some Handel. He has an incredibly expressive face and a voice that remains mellow even while dramatic. He stuck with Handel throughout and his final selection, the melodious 'Mi Lusinga' from 'Alcina' was so soothing and restful to listen to, the audience had to breathe deeply before applause.Young Sydney Conservatorium graduate, Russell Harcourt, appeared second. His striking voice has a purer, fluting timbre, almost an adult version of the boy soprano. In Vivaldi he presented an intricate formal vocal perfection. However in Haase and Porpora he demonstrated a beautiful range of expression, showing dramatic depth as well as ethereal lightness.
The third countertenor was the Italian Carlo Vistoli and from him we had another variety of the counter tenor voice. A charismatic performer, Carlo was the archetypal emotive Italian opera singer, embodying the characters he sang. His rich and soulful tone swept dramatically from anger to tenderness to joy as he sang as with great gusto or gentleness. His range of vocal expression through Vivaldi, Haase and Handel was superb and brought the thrill of a voice ringing through the auditorium.
It was a rare pleasure to hear three exceptional countertenors voices live, each magnificent in a different way. Unfortunately (or perhaps fortunately for the performers) counter tenor trios are hard to come by – because the enthusiastic audience would have stayed for many encores!★★★★
