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Stagehands may be known as some of the savviest people in show business, but even they can miss the mark. In 1984, at Manhattan's 92nd Street Y, conductor Gerard Schwarz was hearing a round of singer auditions. Backstage, the crew members were making notes of their own on a yellow legal pad. Some of their comments were predictably scathing, but when the afternoon's sole countertenor finished his two arias, one stagehand scrawled, "Terrific voice--but limited marketing potential."
Then David Daniels came along, and all that changed. More than anyone else, Daniels has upended the stereotype of the countertenor as a precious, bizarre freak of nature. From his first ...