(AFP) – Nov 21, 2007

PARIS (AFP) — A new opera playing Paris this week will reaffirm a surge in popularity for classical countertenors -- able to reproduce roles written for ancient "castrati" performers, castrated before puberty so their voices remained pure and high.

Not yet 30, Philippe Jaroussky takes the lead role in a baroque production of a 17th century Italian opera "Il Sant' Alessio" opening at the prestigious Theatre des Champs-Elysees after playing in London and New York before going on to Geneva.

In composer Stefano Landi's original opera, the role was played by a castrato, as in those days castrated male singers often performed in classical opera.

But Jaroussky's modern interpretation, featuring the unique high pitched countertenor vocal style that in 2007 saw him named French lyrical artist of the year, has received widespread acclaim.

Since the death of British countertenor Alfred Deller in 1979, viewed as the pioneer of modern falsetto singers, countertenors are making a comeback, rivalling mezzo sopranos both on stage and in record sales.

Aside from Jaroussky, Germany's Andreas Scholl or Croatian-born Austrian Max Emanuel Cencic are other rising stars of the countertenor revival.

Deller is credited with rediscovering this "other voice" feared lost forever, that allowed a man to sing in registers usually only available to women or children.

His interpretations of works by English composers John Dowland and Henry Purcell achieved widespread acclaim.

In comments to AFP, Jaroussky shrugged off comparisons to the great 18th century "stars" of castrato singing, including perhaps most famously Italy's Farinelli, whose life was the subject of a popular 1994 film by Belgian director Gerard Corbiau.

The Frenchman also said the new countertenors "do not have the last word when it comes to truthfully reinterpreting the castrati repertoire."

Instead, he says of a recent recording he made of works originally sung by 18th century Italian castrato Giovanni Carestini, that Swedish opera singer Anne Sofie von Otter "could have made this record."

"Countertenors want to be free from being associated with castrati and to be considered as singers rather than throats capable of vocal gymnastics," he said.

The new production of "Il Sant'Alessio" not only features Jaroussky in the lead role but throws a total nine countertenors on stage -- a feat unimaginable 25 years ago when baroque conductor William Christie first recreated the ancient Italian opera.

Jaroussky says such developments show how far countertenor singing has come in recent years.

"It's a bit like rugby, countertenors have become far more professional. Today there are many schools and vocal styles. It is no longer a pale voice, it is well grounded and solid," he said.

The style's newfound popularity owes a great deal to the fact that is "dreamlike" and evokes "imaginary worlds and childhood," he added.

As for Cencic, who uses his androgynous voice to perform as the wife in the Italian opera, he opined that the countertenor revolution has yet to come.

"I think we are only at the beginning of the enthusiasm," he said.

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