Years from now will the latter 20th/early 21st century be known as the era of the countertenor? A good case could be made for such a prediction, and you can add Spanish countertenor Carlos Mena’s name (and voice) to the current list of first-rate practitioners of this vocal art, which was nearly lost and forgotten until its revival in the 1950s. It seems that you can’t find a recording of Renaissance or Baroque vocal music these days that doesn’t include at least one countertenor–an invariably excellent countertenor at that. Even many among the new generation of female altos seem to be tailoring their sound to conform to the current countertenor vogue.
The program at hand is definitely not for all tastes–it’s a “reconstruction of a vesper service for the feast of St. John the Baptist” drawn from Venetian manuscripts published in the first half of the 17th century. It’s almost entirely for solo voice and a particular configuration of instruments, primarily cornetts and/or violins with continuo. The music certainly isn’t too shabby–Monteverdi, Frescobaldi, and Banchieri make significant contributions–and even the lesser known composers show their facility for vocal writing, especially effective in the case of Cozzolani’s Laudate Dominum and Bovicelli’s Magnificat. Mena has an easy, smooth technique and a bright yet eminently sweet and agreeable tone as well as a total command of the repertoire. He’s accompanied by solid, sympathetic instrumental partners who add appropriate color and essential foundation to the varied melodies. The sound is excellent.
