The countertenor range is a rare and special vocal phenomenon. A countertenor is a man who performs vocally in the alto or soprano range, often using falsetto or the breathy sound that is made when the vocal chords are elongated and separated.

Progression of the Range

Prior to the 15th century, contratenor was a voice part written in much the same range as a tenor; however, during the 1600s, the part was split into the contratenor altus, which became the alto range, and the contratenor bassus, which became the tenor range. However, in England the contratenor altus became the countertenor.

Historically, women were not permitted to sing in church services, and countertenors satisfied this vocal niche in cathedral choirs. Although countertenors may have filled the role of women, the countertenor voice is distinctly different from a woman’s singing voice. The countertenor voice has been described as "otherworldly" and "androgynous." But as unique as it is and was - the countertenor range was not prominently featured in classical opera, as the castrati were more popular.

It would be more than three hundred years later when the countertenor voice underwent a revival. In the 1950s and 60s, an English singer named Alfred Deller and his collaborator Michael Tippet revived the term countertenor to describe Alfred’s voice. Their group, the Deller Consort, increased awareness for Baroque music and the renaissance of the countertenor was underway.

Today, the countertenor voice is recognized and incorporated into classical music. In the opera, roles traditionally written for castrati are performed by countertenors, and the range has even found its way into gospel and folk performance.

You think you know, but you have no idea.

“… an inspiration and blessing!”
      - Jason Mraz, 5-time Grammy Nominated Singer

As a youngster John was involved in various choir groups and numerous performances for his church, Calvary Way Missionary Baptist Church under the Pastorage of Rev. B.E. Lewis. His mother and grandmother used to encourage him to sing and inevitably, he sang a solo every Sunday.

He continued to sing in the Fort Bend Boys Choir of Texas (FBBC) where he received formal, classical voice training as a boy soprano. During his tenure with the group he sang in that range. Many people left the choir because they “voiced out,” or lost their range as they matured, but John left because he was entering high school, and the FBBC’s traveling schedule conflicted with public school attendance. He left the FBBC, still with his boy soprano sound, and during his freshman year of high school, he encouraged his choral director to allow him to sing as a soprano. He was selected for varsity chorale – an unusual position for a freshmen. Thereafter, John began to sing Tenor I (or first tenor), as most chorus members couldn’t sing the high notes – but he could and did.

Upon graduation, John attended Southern Methodist University to pursue his vocal performance training at a higher level. Under the tutelage of Barbara Hill-Moore he trained as a lyric tenor; however, the range was a challenge for John. So Professor Hill-Moore worked with John to modify his sound to a lower range repertoire. John wasn’t happy with the decision, so he convinced Hill-Moore that he could sing “really high.” Hill-Moore was skeptical, but then she heard him sing “Cara Sposa” from G. F. Handel’s Rinaldo. She said that it was the perfect fach (voice type) for John, and a countertenor was born.   

John Holiday opened for 5-time Grammy Nominated performer Jason Mraz in April 2006.