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Countertenors, female sopranos, and boy sopranos
Ah yes, I was afraid that this thread might devolve. It is not a question of who sings better or their gender. The really great a cappella choral music written around the 16th century was with the *tonal colours* that the male voice choir could make. Let us remember that they did not always sing with a lusty vibrato since that would disturb the fine textual and notationally constructed pieces, not to mention the character and solemnity of the occasion they sang in. A excellent choir is one that can, at will, turn off the vibrato. To make a fine point - Informed Musicianship! Not only the Conductor but each and every singer should be very cognizant and have taken the time to peruse and *digest* something about the composer and their time on this earth and which were the venues that they composed for. Most, if not all composed for a Church venue. That sort of edifice usually had an other-worldly acoustic and the composers knew it and thusly composed with that in mind. I'll stop right here, otherwise I would digress even further.
Oh, I forgot - just because one has female voices performing in the 16th century choral literature does not mean that the choir sings with a lusty vibrato. A blended and balanced choir of male and female voices can be just as satisfying. But, getting back to the original point - it's a question of style and acheiving the *Informed Musicianship* that should be the ken of every choir.
Humbly,
Giovanni
Ah yes, I was afraid that this thread might devolve. It is not a question of who sings better or their gender. The really great a cappella choral music written around the 16th century was with the *tonal colours* that the male voice choir could make. Let us remember that they did not always sing with a lusty vibrato since that would disturb the fine textual and notationally constructed pieces, not to mention the character and solemnity of the occasion they sang in. A excellent choir is one that can, at will, turn off the vibrato. To make a fine point - Informed Musicianship! Not only the Conductor but each and every singer should be very cognizant and have taken the time to peruse and *digest* something about the composer and their time on this earth and which were the venues that they composed for. Most, if not all composed for a Church venue. That sort of edifice usually had an other-worldly acoustic and the composers knew it and thusly composed with that in mind. I'll stop right here, otherwise I would digress even further.
Oh, I forgot - just because one has female voices performing in the 16th century choral literature does not mean that the choir sings with a lusty vibrato. A blended and balanced choir of male and female voices can be just as satisfying. But, getting back to the original point - it's a question of style and acheiving the *Informed Musicianship* that should be the ken of every choir.
Humbly,
Giovanni
