My review of Bejun Mehta's latest CD appeared on The Classical Review website (http://theclassicalreview.com/cds-dvds/2011/09/bejun-mehta-down-by-the-salley-gardens/) alongside an interview Michael Quinn had with Mehta himself.
It was interesting to be reminded of the perplexed reception for the countertenor voice until very recently. Descriptions of it as "helium-high" and "the most exotic and female-sounding of all male voice registers" tended to concentrate on its sound rather than the artistry which lay behind it. Tom Service, in a characteristically robust piece in The Guardian, opened with the words; "The world of the countertenor is a weird, high-pitched place, where the possibilities of the male voice are pushed to Bee Gees extremities". I well recall an early concert given by the King's Singers when the countertenor introduced himself to his audience as sounding "as if something's not quite right" and got an embarrassed giggle when he demonstrated the purity of his top notes. I remember a decade ago preparing the ground for the first countertenor to sing at Dewan Filharmonik PETRONAS, and explaining that it was a wholly natural voice, trained to an incredible level of expertise. As it was I didn't have to bother, for Andreas Scholl, who gave that concert back in October 2000, was so supremely gifted as a musician that nobody found it in any way odd; everybody was smitten by the sheer artistry of his singing.