Anthony Roth Costanzo, an American countertenor known for his distinctive falsetto voice, has released a new autobiographical book titled *Countertenor* alongside a companion album. The work explores not only his personal journey but also delves into the history and cultural politics surrounding his vocal range.
Costanzo, 44, attributes part of his fascination with the intersections of gender, power, and pitch to observations about performance in different contexts, including the dynamics present in both gay and straight pornography. His voice type, which sings predominantly in falsetto, places him at the crossroads of these themes.
Raised by two academic psychologists at Duke University, Costanzo's early career was marked by notable achievements. He began performing professionally at 11 years old, appearing in Broadway and national tours of *Falsettos* and *The Sound of Music*. At 14, he performed alongside Luciano Pavarotti in a special staging of Puccini’s *Tosca*, receiving encouragement from the legendary tenor for his future potential. Costanzo also appeared in Merchant Ivory’s 1998 film *A Soldier’s Daughter Never Cries*.
Costanzo graduated magna cum laude from Princeton, where his senior thesis on castrati—a group of male singers castrated before puberty to preserve their high voices—evolved into a fully staged production featuring choreography by Karole Armitage and costumes by James Ivory. The university also funded a documentary of the project.
The book dedicates a chapter to the castrati, describing the brutal practice that accompanied a centuries-long fascination in Europe, including within the Catholic Church. Costanzo highlights the paradox of the Church’s simultaneous prohibition and tacit tolerance of the practice, which informed much of baroque opera’s repertoire.
While many baroque operas featured heroic roles for castrati, Costanzo notes contemporary countertenor roles often depict less traditionally masculine characters. He questions whether such singers would realistically be cast as archetypal father figures by modern composers, suggesting the roles more frequently align with eccentric or outsider characters.
At the time of the interview, Costanzo was preparing for the world premiere of Missy Mazzoli’s *Lincoln in the Bardo* at the Metropolitan Opera, which draws on George Saunders’s Booker Prize-winning novel. Costanzo will portray Miss Elise Traynor, a shape-shifting character who transforms into various animals, a role he says suits the countertenor voice.
Costanzo is perhaps best known for his performance as the title role in Philip Glass’s *Akhnaten*, which he has performed in London, Los Angeles, and New York to sold-out audiences. He recounts a notable moment from the English National Opera production, when director Phelim McDermott requested he appear naked on stage, prompting Costanzo to enlist support from a social app to prepare physically.
Known for his openness and authenticity, Costanzo attributes his willingness to share candid insights partly to his upbringing in a psychologically informed household. He also views his unique voice type as a tool to subvert audience expectations and deepen character portrayal.
Despite working within a niche artistic field, Costanzo exhibits a fearless approach to his career, embracing the risks associated with his unusual vocal range and diverse roles. His work continues to challenge traditional boundaries in opera performance.