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“他是当今最受赞赏的高男高音,从他的成就来说,或许是迄今为止最好的。”——《纽约时报》高男高音(countertenor)指的是最高的男声,也称alto,其嗓音结实有力,具有乐器般纯净的音色,但不同于17、18世纪意大利歌剧中常使用的阉人歌手(castrato)。高男高音在亨德尔和珀塞尔时期尤为盛行,以后便逐渐失宠。到了20世纪,英国伦敦的坎特伯雷大教堂出了一位杰出的高男高音歌唱家阿尔弗雷德·戴勒(A.Deller,1912-1979),他以华丽的歌喉演唱亨德尔和珀塞尔等人的作品,并经常在电台演唱和灌录唱片,使人们了解到了高男高音的潜在魅力,这一类型的演唱技艺因此得以复兴,而长久以来巴洛克时期作品中的高男高音角色一直是以女中音或男高音来代替的。20世纪作曲家中最早对高男高音产生兴趣的是布里顿,他在《仲夏夜之梦》中的奥伯龙一角便是专门为戴勒写的。
“He is the most appreciated high tenor of the day, and perhaps the best he has ever been from his achievements.” - The New York Times “countertenor” refers to the tallest male voice, too Called alto, his voice was strong and instrumentally pure, but unlike castrato, often used in Italian operas of the 17th and 18th centuries. The high tenor was particularly prevalent in Handel and Purcell and gradually fell out of favor. By the 20th century, an outstanding high tenor singer, A. Deller (1912-1979), appeared at Canterbury Cathedral in London, England, where he performed with gorgeous sings by Handel and Purcell And others, and often sings and records on the radio to make people aware of the potential charm of the high tenor, so this type of singing skills to be revived, but the Baroque works have long been the role of high tenor has been Alto or tenor to be replaced. The first of the 20th century composers to have an interest in the high tenor was Britten, whose writing on the corner of Oberthur in A Midsummer Night’s Dream was devoted to Delle.