Countertenors in US/Canada

Hi
yesterday in Polish city Wrocław had place on of the Wratislavia Cantans Fastivals concert (http://www.wratislavia.art.pl/programen.htm) with Canadian countertenor Daniel Taylor in Heandel repertuaire. Unfortunatelly I wasn`t in Wrocław and saw concert live but only on tv.
I thouhgt about your idea of having countertenor-star in America (generally, both Americas), but in my personal opinion Daniel is one level below Jaroussky class. Yes, Daniel puts a lot of heart into his interpretation, but I had feeling he is not able to manage his voice in some parts of arias. Today I looked on his website page for discography, and find it very nice. But still, obviusly for me, it`s not the same class comparing to Philippe.
I think countertenors voice is also amazing and suprising in Europe. Maybe thanks to Jaroussky it begins to be more known in Western Europe like France, The Netherlands or Spain, but in Poland this is still knowlegde of people who have gradue from arts schools or love baroque music and spend a lot of time looking for information about it (like me).
Two days ago we met with our friends. They are very well educated middle class couple. We talked about our holidays spending abroad and in Poland, and of course about concerts (we were on Lou Reed concert in Warsaw on 14/07/08, Eric Clapton concert in Gdynia - Polish seaside city - on 14/08/08 and Philippe Jaroussky concert in Praha on 17/08/08). I made photo show with parts of Philippe arias to present beautiful Praha. They were suprised and discontented!!!!!!!!!! And made suggestions abut his sexuality. Telling the truth I gave up and didn`t try to explain that male alto is singing technique and have no connections with singer sexuality!
By the way, one week ago I tried to place video from Jaroussky concert in Praha but had problems with it. I`m going to try again today evening because I thing it could be very interesting material for his funs.
Kind regards
Beata

I just listened to one recording with Daniel Taylor ( I had never heard him before ). His voice seems to be average. It has this typical countertenor shortcoming of sounding sometimes as he's holding his nose closed while he's singing. I'm not fond of that sound although I have recently been growing fond of Paul Esswood's voice and this sound can unfortunately often be found in his singing. However I have learned to appreciate Esswood's 'steel' quality of tone and therefore listen to him occasionally for my pleasure. I've heard this sound in Scholl's singing as well but it sounds a bit different in his singing than in most countertenors and I don't find it as prominent. I suppose it's some kind of technique that many countertenors use that has this sound.

Jaroussky is wonderful. His voice if one of the most agile and virtuosic I have ever heard. He's definitely on another level than other countertenors but perhaps he hasn't mastered the level he's on to its extent. I can still hear that Philippe has some minor problems with his lower register which could perhaps be solved by more use of chest voice but I am hoping that he will overcome them.

I have learned that it is no use to try and introduce high male voices to narrow-minded people.

I`ve just read your post and wonder about opinion that Philippe has problems with low notes. Hearing his records I could say yes, I agree. But after hearing him live I`ve changed my opinion. I found his voice more colourful, deeper, with very good low notes singing with chest voice. On the other hand in some moments I had feeling that his voice does not have upper limit and fly into the sky, still strong and absolutly cristalline .
Of course it`s not place for SWOT analysis , but I have to mention that there were also weak moments, especially on the beggining. Philippe was very stressed and it was evident for people. He stood like wooden monument, and sometimes he was drowned by ensemble. Aria after aria he was more relaxed, his voice was stronger, at last we could find our beloved Philippe smelling, hands singing, etc. He should again sing initial arias on the end
There was one funny moment during his show. After one or two arias he left, ensemble played one or two parts, he came back to sing arias and left again , etc. On the beggining of one of the parts people expected his return on the stage and looked at the door. We saw that he tried to open the door, but something happend and he couldn`t do it. At last he opend the door and came inside laughing. I think that event relaxed him.

As with all singers, one can perceive a statistical bell curve of vocal quality, with most singers being average, a few singers being disappointing, and a few singers (on the other end of the statistical graph) who are exceptionally good. I suppose that no singer can be "pefect;" however, some are astonishingly wonderful. Philippe Jaroussky certainly is one of the better ones, as are Andreas Scholl and Paul Esswood.

Because there is so much beautiful music written for male altos and sopranos, much of it yet unsung, we must be greatful if we have the chance to hear (live or on recording) the relatively good voices. Because there has been a renewed interest in Barouqe music and even Baroque opera (less so in America but more so in Europe), we all need to explore new countertenor voices and share information about our discoveries, even if they are not "the very best."

One voice that may have been overlooked is David Walker, whom I heard live as secundo uomo in Monteverdi's "Coronation of Poppea." I was very impressed with all aspects of his performance, yet I have not taken the time to explore the web to see what recordings or further information is available. I look forward to seeing what members may find and post on this site.

I am currently think of doing Vedro con mio diletto. I got the sheet music and am composing the backing track to sing to it. I hope it comes out ok. I sing the song with Jaroussky every day! Love to harmonize with him.

chris