COUNTERTENOR

The past and present of men singing in falsetto.

“Would you consider entering naked?” is the first line of Costanzo’s charmingly idiosyncratic memoir/history. These words from the director of Philip Glass’ opera Akhnaten, and the countertenor’s response, signal that this will not be a conventional opera autobiography. Costanzo did indeed agree to enter naked, and it’s only the initial instance of his openness to radical innovations in this venerable art form. Describing his preparation for the role also gives readers the first example of his ready wit: “What if someone told you you were about to appear buck naked in front of three thousand people? I bet you’d start looking for a personal trainer, too.” He made the front page of The New York Times Arts & Leisure section; throughout his career, Costanzo has had a gift for getting boundary-pushing work noticed in the mainstream. “I want the art I make to reach the broadest possible audience,” he writes. This heartfelt credo inspired such outside-the-box maneuvers as making a music video for each track of an album composed entirely of arias composed by Handel or Glass. Tracing the history of castrati, the male singers castrated as boys to retain their sopranos, Costanzo spotlights how vital these voices were to baroque operas such as Handel’s, going on to cover the early music revival of the mid-20th century that led to the rise of countertenors to sing the roles first made possible by this now-outlawed practice. Autobiographical chapters recall a close relationship with supportive parents, an early career in musical theater, the voice teachers who facilitated his move to opera, and much more. The text rambles a bit, but every page imparts Costanzo’s passion for what he does and the unabashed entrepreneurship that led Opera Philadelphia to name him its general director in 2024. He promptly initiated a Pick Your Price policy, the entire season sold out, and 67% were first-time ticket buyers.

A must for opera lovers and fun for general readers as well.