Countertenor Max Emanuel Cencic has a truly astonishing voice. The listener could reasonably forget that it's a man who's singing and imagine it's a mezzo with an extraordinary range and coloratura technique. If the cynic were to raise the question of the advisability of a countertenor singing arias originally written for a mezzo-soprano, the answer would simply be "because he can," and the result is pretty fabulous. Terms like "lustrous tone" and "dazzlingly secure technique" and "subtly nuanced interpretations" spring to ...
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Countertenor Max Emanuel Cencic has a truly astonishing voice. The listener could reasonably forget that it's a man who's singing and imagine it's a mezzo with an extraordinary range and coloratura technique. If the cynic were to raise the question of the advisability of a countertenor singing arias originally written for a mezzo-soprano, the answer would simply be "because he can," and the result is pretty fabulous. Terms like "lustrous tone" and "dazzlingly secure technique" and "subtly nuanced interpretations" spring to mind. The recitatives and arias, taken from four of Rossini's opera seria (Tancredi, Aureliano in Palmira, La donna del lago, and Semiramide) are interpretive and coloratura showcases, and Cencic excels in both aspects -- his performances are models of expressive sensitivity and bravura vocal display. He is particularly brilliant in the arias from Semiramide, "Ah, quel giorno" and "In sì barbara scigura," some of the most demanding music Rossini ever wrote. The CD also includes...
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