Russell Oberlin: A True Natural Countertenor or a Vocal Virtuoso?

For those interested in classical voice and countertenors, one name that often comes up is Russell Oberlin. Often regarded as one of the first true natural countertenors of the modern era, he is known for his ability to blend both head voice and falsetto, qualities that define countertenors. However, Oberlin's unique vocal technique set him apart from many contemporary countertenors, leading to debates and questions about the nature of his vocal production.

Defining the Head Voice and Natural Countertenor

To understand Oberlin's vocal technique, it is important to first define some key terms. The head voice is often confused with the falsetto register, a term traditionally used to describe a lighter, less resonant resonance method. However, Oberlin's speaking pitch is around F3, close to a contralto and higher than a normal male B2, which indicates a more natural and resonant approach to singing. This contributes to the debate about whether he is a true natural countertenor or not.

An Integrated Vocal Technique

Judging by his training and technique, Oberlin was trained to produce a rich tone that is sometimes described as more akin to a mezzo-soprano than a falsetto. This unique ability allowed him to sing with a full resonant voice in the alto range, setting him apart as a vocal virtuoso. It is important to note that his approach to singing was more integrated and resonant than what is often seen in modern countertenors, contributing to his significant role in the history of countertenor singing.

Two Types of Mature Countertenor Voice

The human voice spectrum ranges from bass profundo to sopranino, and within this range, there are two distinct types of mature countertenor voice. The first is the common countertenor singing with falsetto or reinforced falsetto. The other is an unusually high tenor voice, known as a tenorino or a tenor altino. Examples of this can be seen in Anders J. Dahlin, Russell Oberlin, and Vincenzo Capezzuto, among others.

Distinguishing Characteristics

By examining samples from both Oberlin and other countertenors, it becomes clear that some countertenors rely more heavily on falsetto, while others, like Oberlin, demonstrate a more natural and integrated vocal technique. One must also consider that the classical singing technique is the result of systematic training, rather than raw natural talent.

Examples of Tenorino/Tenor Altino

Here are a few examples of tenorino/tenor altino voices in modern times:

An Anders J. Dahlin singing Purcell - Tis Natures Voice: This French haute-contre fach is a light tenor with a high tessitura. The comfortable high note is normally at D5 instead of E5. He was a friend to Oberlin. Rodrigo del Pozo singing Jubilate Domino in D Major: His top notes from A4 to Eb5 sound like a contralto, while the lower and middle ones are still tenor. Vincenzo Capezzuto singing Vivaldi: His voice is quite different from a normal tenor, with a contralto-like higher range and boy-alto-like lower notes. Russell Oberlin singing Handel “Vivi tiranno”: His vocal production is a blend of a high male voice and a low female voice. Yoshikazu Mera singing Bach St John Passion “Von den Stricken meiner Sünden”: His voice is close to a contralto and different from a normal tenor. Jochen Kowalski singing Gluck’s Che faro senza Euridice: He presents the highest tessitura in the tenor altino voice, with a timbre close to a mezzo-soprano.

Common Problems of Falsettists

While Jochen Kowalski's example demonstrates a more integrated and unchanged voice, falsettists often face the challenge of registration change in the lower range. For instance, in the performance of David Daniels, there is a clear shift from falsetto to chest voice around 3:34 to 3:40, which disrupts the seamless delivery of the voice. In contrast, Jochen Kowalski remains in the modal register throughout, showcasing an integrated approach.

The Authentic Castrato Voice

Lastly, it is worth noting that there are voices that stand out from the rest, such as the authentic castrato voice. Paulo Abel do Nascimento and Bejun Mehta are examples of this rare vocal production, which stands at least a fifth higher than Russell Oberlin.

In conclusion, while Russell Oberlin did utilize elements of head voice, his approach was more integrated and resonant, making him a significant and unique figure in the world of countertenors and classical voice.