Max Emanuel Cencic accurately describes himself as a mezzo-soprano rather than a counter tenor. His tone, while pure, is colorfully nuanced, nothing like the blanched purity that was once (but is thankfully no longer) stereotypical of counter tenors. A lifetime of singing the most advanced repertoire has given him a confident technique, exceptionally sure intonation, astonishing vocal power, and an effortless-sounding flexibility; at the age of six he sang the Queen of the Night's "Der Hölle Rache on Zagreb" television, and ...
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Max Emanuel Cencic accurately describes himself as a mezzo-soprano rather than a counter tenor. His tone, while pure, is colorfully nuanced, nothing like the blanched purity that was once (but is thankfully no longer) stereotypical of counter tenors. A lifetime of singing the most advanced repertoire has given him a confident technique, exceptionally sure intonation, astonishing vocal power, and an effortless-sounding flexibility; at the age of six he sang the Queen of the Night's "Der Hölle Rache on Zagreb" television, and he went on to become a soloist with the Vienna Boys' Choir. On this album he tackles some of Handel's most virtuosic and demanding mezzo arias, most of them relatively unfamiliar. The selection highlights his expressive and technical versatility. He brings intensely articulated longing and grief to "Pena tiranna," from Amadigi di Gaula, one of the better-known arias. The ravishing legato and limpid phrasing of "Alma mia," from Floridante, express a transcendent serenity and joy....
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