I can guess from the comments what answer #9 is, but how does one find question #9? Nico Muhly doesn’t give a link to it, does he? So many seem to have found 9 without 8 being posted makes me think I’m missing something obvious.

The result just sounds strange to me.

For myself, countertenors singing attributes
don’t really match up with what I’ve read in terms of descriptions what the castrati could do. I’m thinking primarily of the endless breath most of the castrati seemed to have as well as the fullness and powerfulness of tone that had throughout their range.

It’s a poor example, but the only one we have is of the recordings of Moreschi, the last Vatican castrati. I doubt that he was really ever all that great but at the time he made recordings, ca 1905, his voice was a wreck.
The lower part of his range sounds comical, it’s so bad, but even then it has more color than most of the lower reaches of today’s countertenors. The high notes are perilous but what fascinates me are the notes around D-E-F-G. The notes are very firm and very rich with color and this is the point at which so many countertenors start to thin out.

All I can say is that the voice might be in shambles, but the phrasing and artistry remain unparalleled. Brava Diva!!!

Though Opera Chic never had much thunder. Was it she who called Bernard Haitink’s baton “luscious” the other day? Puhleeeeeeez