SOUNDTRACK: ANTHONY ROTH COSTANZO-Tiny Desk Concert #789 (September 21, 2018).
The first thing you see when you look at this Tiny Desk Concert is the amazing harpsichord–large and decorated like an old-fashioned leather-bound book. It is stunning.
But you’re only likely to notice it if you haven’t first heard Costanzo’s voice and then had a look at him.
A word about Costanzo’s voice. He is a countertenor, a man who sings in the range of a female alto. The roots of the tradition date way back to the 1500s, when young male singers, called “castrati,” were castrated in order to preserve their high, flexible voices.
“I’ve managed to do it without castration,” Costanzo joked to the audience of NPR staffers. These days, countertenors sing in falsetto, and while as recently as 30 years ago it was considered something of an androgynous novelty, now countertenors are part and parcel of the opera world.
The music is exceptional and is wonderfully modern with that classical feel that opera naturally seems to add.
Costanzo performs songs from his new album, which pairs music by George Frideric Handel with Philip Glass. Strange bedfellows perhaps, and born more than 250 years apart, but somehow Glass’ repetitive, staccato beats and Handel’s long, flowing melodies manage to shake hands across the centuries.
The first piece is by Philip Glass. And the music sounds like perfect chamber pop. The flute plays the Glassian up and down melody while the bassoon plays the wonderful, peculiar bass notes.
One obvious common thread is the arrangements, by Nicholas DeMaison, that Costanzo commissioned expressly for this performance, featuring harpsichordist Bryan Wagorn (playing a beautiful double-manual French-styled instrument built by Thomas and Barbara Wolf), along with flutist Alice Teyssier and bassoonist Rebekah Heller.
Glass’ “Liquid Days,” begins with a recitative introduction, similar to a Handel aria. But the lyrics, by David Byrne, depict love, in all its quotidian splendor.
It is somewhat strange to hear a countertenor (or even if he were a female singing alto) singing lyrics in English. His voice is truly amazing.
It is even more peculiar to hear the word “television.” But Byrne’s lyrics are pretty awesome:
We are old friends
I offer love a beer
Love watches televisionLove needs a bath
Love could use a shave
Love rolls out of the chair and wiggles on the floor
Jumps up
I’m laughing at love
I’m laughing at love
And all the while Costanzo’s voice sounds operatic, serious, significant.
Costanzo’s agile voice, with its polished tone and patrician phrasing, is a singular reminder that we live in a golden age of countertenors – guys who sing high in music both ancient and modern.
Up next is Handel’s “Pena tiranna” (From ‘Amadigi di Gaula’) which means, I have a tyrannous pain in my heart and I can never hope to find peace. It opens with harpsichord and bassoon, a wonderful combination. The flute then enters to play a harmony with his voice.
“Pena tiranna,” from Handel’s undervalued Amadigi di Gaula, is a compelling example of how well the composer can spin a gorgeous melody to evoke the deepest anguish.
The final piece is from Glass: “In the Arc of Your Mallet” (from ‘Monsters of Grace’)” which has a text by the 13th-century Persian poet Rumi. It speaks of longing in sexy undertones. He says that in this translation brings out the strange, layered longing–sometimes dirty–meaning under the surface.
Anthony Roth Costanzo is a feisty performer who knows a thing or two about busting down barriers in classical music. After all, opera singers don’t normally belt out arias behind office desks, and they don’t insist on lugging harpsichords with them. They also don’t routinely sing in Bronx middle school classrooms and get students talking about emotions. But Costanzo is fearless. (And after seeing this amazing Tiny Desk performance, watch him melt the hearts of distracted sixth-graders.)
[READ: January 9, 2017] “The Driver”
I never anticipated where this story was going. And the direction it took to get there was really interesting.
It begins with the story of Mrs Quantrill, a respectable woman who managed to get their house listed on the Nation Register of Historic Places. She and her husband were philanthropists and they threw legendary parties.
There’s an aside that says when their son Spencer inherited the house, he demolished it and replaced it with storage units.
But at the time of this story Spencer is 9 years old. And Mrs Quantrill has been called into the principal’s office because Spencer is struggling. Spencer is nervous and doesn’t know what to do with his, feet, his eyes or his hands. (more…)
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