
I'm not very fond of using the English terminology 'countertenor'.
In fact, from a historical point of view, the label countertenor was used for a much lower voice or tessitura than mine.
(see the book 'The Countertenor' by Peter Giles, 1982).
Therefor I prefer 'ALTUS', an older and more 'continental' term, literally meaning 'the highest' (of men's voices) in general, so very appropriate to define my role in the Egidius Kwartet in particular.
In fact, from a historical point of view, the label countertenor was used for a much lower voice or tessitura than mine.
(see the book 'The Countertenor' by Peter Giles, 1982).
Therefor I prefer 'ALTUS', an older and more 'continental' term, literally meaning 'the highest' (of men's voices) in general, so very appropriate to define my role in the Egidius Kwartet in particular.

Though I speak with the tongues of men and of angels, and have not charity,
I am become as sounding brass, or a tinkling cymbal.
(1 Corinthians Chapter 13:1, -1611 King James Bible- )
Having a nice or beautiful voice is, to my view, not enough for art.
A singer should be sensible to poetry, historically and theologically interested, modest and inventive.
We, singers, are indebted to our tutors. I had fantastic ones and like to pay homage to them on the next page.
Click the button 'teachers' here below
I am become as sounding brass, or a tinkling cymbal.
(1 Corinthians Chapter 13:1, -1611 King James Bible- )
Having a nice or beautiful voice is, to my view, not enough for art.
A singer should be sensible to poetry, historically and theologically interested, modest and inventive.
We, singers, are indebted to our tutors. I had fantastic ones and like to pay homage to them on the next page.
Click the button 'teachers' here below