A countertenor, also called a contra tenor, is a type of male singing voice in classical music. Its range is similar to that of a female contralto or mezzo-soprano, usually from around E3 to D5 or E5. A special type of countertenor, called a sopranist, can sing as high as a soprano, reaching from about C4 to C6. Countertenors often have a chest voice similar to a tenor or baritone, but they use falsetto or head voice more frequently than their chest voice.
The countertenor voice has changed over time. In the past, it was used in different ways, such as with a modal voice or a combination of modal and falsetto. Today, it is most often associated with a falsetto voice. These changes happened partly because of physical growth in humans, such as increased height, and partly because of changes in musical pitch standards.
The term "countertenor" was first used in England during the mid-17th century and became widely used by the late 17th century. Adult male singers using falsetto to sing in the soprano range were already part of all-male sacred choirs in Europe as early as the mid-16th century. Modern groups like the Tallis Scholars and the Sixteen include countertenors in alto parts for music from this time. There is no evidence that falsetto singing was used in Britain before the early 17th century, when it was occasionally heard in soprano parts.
In the second half of the 20th century, interest in countertenors grew again, partly because of singers like Alfred Deller and Russell Oberlin. This revival was also influenced by the popularity of Baroque opera, where male singers needed to take over roles originally sung by castrati (male singers castrated before puberty to maintain a high voice). While countertenors are often linked to early music, there is now a growing collection of modern compositions written for them, especially in contemporary music.
Terminology
In the British choral tradition, the terms "male soprano" and "male alto" describe men who use a higher voice called falsetto, not their normal voice, to sing in the soprano or alto range. In other places, these terms are not always used. Some experts agree that these terms can describe men who use falsetto, but this idea is debated. These experts prefer the term "countertenor" for men who sing in the alto range with little or no falsetto, similar to the French term "haute-contre" and the Italian term "tenor altino." People who support this view believe countertenors have shorter vocal cords, leading to a higher speaking voice and a lower singing range, possibly from the note D3 to D5. In operatic singing, the terms "countertenor" and "sopranist" are preferred over "male alto" and "male soprano." Some scholars argue that "male alto" and "male soprano" are not accurate because there are physical differences between male and female voices that affect how they sing.
History
In the 14th and early 15th centuries, music with multiple voices was common. A part called the contratenor was added to the basic two-part structure of discant (the higher voice) and tenor (the lower voice, named from the Latin word tenere, meaning "to hold," because it provided the main melody). The contratenor had a similar range to the tenor but sang less melodic lines. Around 1450, composers like Ockeghem and Obrecht began writing music for four voices. This caused the contratenor to split into two parts: contratenor altus (above the tenor) and contratenor bassus (below the tenor). Over time, these names changed: in Italy, contratenor altus became altus; in France, haute-contre; and in England, countertenor. These terms originally described a vocal part but now refer to singers who perform it, even if their singing styles differ.
During the Renaissance, the Catholic Church banned women from singing in church services. Countertenors, though not always called by this name, became important in church music. They sang either alone or with boys who sang higher parts (like trebles or altos). In Spain, men who could sing high notes (falsettists) had long been used for soprano parts. Countertenors were rarely used in early opera, which began around the same time as the rise of castrati (males who were castrated before puberty to sing higher notes). For example, castrati performed in the first performance of Monteverdi’s L’Orfeo (1607). By the late 17th century, castrati dominated Italian opera, while in France, the haute-contre (a high tenor) became the preferred voice for leading male roles.
In England, Purcell wrote music for a higher male voice called a "counter-tenor." For example, in The Fairy-Queen (1692), he used countertenors for roles like Secrecy and Summer. Some modern singers have struggled to determine whether these parts were meant for high tenors or falsettists. However, historical singing guides suggest that Purcell’s singers were trained to blend both singing styles. In Purcell’s choral music, some pieces have multiple countertenor parts with different ranges. For instance, in Hail, bright Cecilia (1692), one countertenor part ranges from F3 to B♭4, while another part ranges from E4 to D5. Another part, written for Mr. Howel, was described as a "High Contra tenor" and included notes from G3 to C4, likely using a chest voice for lower notes.
After Purcell’s death, the countertenor role declined in England. By the early 18th century, Italian-style opera, led by castrati, became popular in Britain. Castrati also performed in Handel’s oratorios, though countertenors occasionally sang solo parts. These parts usually had a range from A3 to E5, similar to Purcell’s higher parts. Countertenors also sang alto parts in Handel’s choruses. They survived mainly in church music and secular performances like glees (group singing) during the 18th and 19th centuries.
In the 20th century, Alfred Deller, an English singer, helped revive interest in countertenors. He was initially called an "alto" but later used the term "countertenor" to describe his voice. His group, the Deller Consort, promoted Renaissance and Baroque music in the 1950s and 1960s. Benjamin Britten wrote the role of Oberon in A Midsummer Night’s Dream (1960) specifically for Deller. James Bowman, a later countertenor, created the role of Apollo in Britten’s Death in Venice (1973). Russell Oberlin, an American countertenor, also helped popularize the voice in the United States. He focused on singing with a modal voice, a traditional style.
Today, countertenors are widely used in classical music. Many opera roles originally written for castrati are now performed by countertenors, as are some "trouser roles" (parts usually for female singers). These include roles like Orfeo in Gluck’s Orfeo ed Euridice and parts in Handel’s operas, such as Rinaldo, Giulio Cesare, and Orlando. Mozart also wrote castrati roles, such as Aminta in Il re pastore and Sesto in La clemenza di Tito.
Modern composers, including Britten, have written countertenor parts for choral music, operas, and songs. Groups like Chanticleer and the King’s Singers use countertenors in various genres, such as early music, gospel, and folk. Recent operatic roles for countertenors include Edgar in Aribert Reimann’s Lear (1978), Prince Go-Go in György Ligeti’s Le Grand Macabre (1978), and the title role in Philip Glass’s Akhnaten (1983).
Vocal range
The vocal range of a countertenor is similar to that of a female contralto or mezzo-soprano. A trained countertenor usually has a voice placement comparable to a contralto or mezzo-soprano. Peter Giles, a professional countertenor and expert on the subject, describes the countertenor as a musical part, not a vocal style or technique. In modern terms, the word "countertenor" is nearly the same as the medieval term "contratenor altus." This means a countertenor singer can be defined as a man who sings the countertenor part, regardless of the vocal style or technique used. The countertenor range is generally the same as an alto range, covering from about E3 to D5 or E5. Compared to female voices, male voices usually extend lower, but the lowest notes are rarely used. In practice, most countertenors use falsetto for the upper half of their range, while many use a form of "chest voice" (similar to their speaking voice) for the lower notes. The greatest challenge for these singers is managing the lower middle range, as there are usually only a few notes (such as B♭3) that can be sung with either vocal method, and the transition between these methods must be smooth.
Peter Giles avoids using the term "falsetto" because he believes it has a negative meaning. He refers to the upper register as "head voice." However, many voice experts disagree, as they use "head voice" to describe a high, damped register with a low larynx, common in modern tenor singing. This type of head voice is actually more similar to "chest voice" than to falsetto because it uses the same speaking voice technique (called "modal" by scientists), which is reflected in the sound quality.