NEW YORK, NY.- Anthony Roth Costanzo was never just going to step onstage and sing.

Instead, as the New York Philharmonic’s artist-in-residence, this countertenor is planning a series of events — beginning Thursday and continuing through the spring — that add up to a self-portrait of a musician who, among other things, is also a charismatic impresario, cross-discipline connector and community organizer.

His festival, “Authentic Selves: The Beauty Within,” reaches from Lincoln Center to the Lower East Side, the Bronx and Queens; includes premieres as well as recastings of classic repertory; and brings the queer joy of “Only an Octave Apart,” his show with cabaret artist Justin Vivian Bond, into the concert hall.

It is the product of a restless personality who believes there are too many hours in the day to be only a countertenor.

“I sleep eight hours every night,” said Costanzo, who turns 40 in May and speaks with unflappable effervescence. “So I have 16 other hours. Singing more than two hours is not a great idea, because you’ll just kill your voice. I can probably handle two more hours of learning — doing ornaments, something musical. That then leaves me with 12 other hours. If I wanted four of those to live a life, then I’ve got a full workday left.”

That feels like plenty of time, he added, but the schedule is certainly daunting. He is also releasing the album version of “Only an Octave Apart” this week, preparing a revival of Handel’s “Rodelinda” at the Metropolitan Opera and returning there later this spring to repeat his star turn in Philip Glass’ “Akhnaten.”

You can see why he hasn’t taken a vacation in a decade.

Costanzo didn’t even go on much of a break when the pandemic brought live performance to a halt in March 2020. Within a week of the first lockdown, he was writing an essay for Opera News about the effect mass cancellations might have on the industry. Then, over Zoom cocktails with Deborah Borda, the Philharmonic’s CEO, he began to shape an idea that became Bandwagon: pop-up concerts from a pickup truck that doubled as community engagement programs and, leading up the presidential election, a voter registration drive.

Rest, such as it is, comes whenever Costanzo rides a bicycle or cooks a meal, which is often. (Among those who know him, he is famous as a host.) “I cannot have my phone or be checking email,” he said. “I have to be focused on just that.”

Life has more or less always been like this for Costanzo, a former child actor. James Ivory, director of films including “Howards End” and “A Room With a View,” recalled the pluck of a young Costanzo handing him a cassette recording of his singing after an audition.

“The next day, I was driving and played the music,” Ivory said. “It was music that I very much like — Bach and Handel — and he sang it so beautifully.”

Costanzo got the part, and the two have been friends ever since; Ivory was even involved with Costanzo’s undergraduate thesis project at Princeton University. There, instead of writing the typical paper, the young singer marshaled a team of prestige artists, including dance-maker Karole Armitage, to create a film imagining the life of an 18th-century castrato. Costanzo raised $35,000 from various academic departments, and eventually persuaded Princeton to provide roughly $100,000 more to produce a documentary about the project.

After Costanzo graduated in 2004, Armitage asked him to be executive director of her company, Armitage Gone! Dance, where he raised about $3 million, planned a gala and continued to wrangle the support of celebrities — such as Christopher Walken, who filmed a commercial for the troupe. His “pretty gigantic network,” as director Zack Winokur described it, has since been deployed in projects like “Glass Handel,” an interdisciplinary concert that incorporated choreography by Justin Peck, live art-making by painter George Condo and costumes by Raf Simons.

Bond joked that after walking offstage at the end of “Only an Octave Apart,” Costanzo could text 20 people and make a dinner reservation in the time it took Bond to pull out a single bobby pin. But Costanzo, a member of the enterprising collective American Modern Opera Company and the recent recipient of a $150,000 Mellon Foundation grant to support interdisciplinary collaboration, said he doesn’t network for its own sake.

“I’m not interested in any artist because of their fame,” he said. “My relationships are beyond that. Unless there’s a sense of community, you can accomplish nothing; without that, it’s so boring.”




Borda said Costanzo “develops a rapport with everyone, and has that capability of relating to the guy driving the truck and the diva superstars of the Met.”

In late summer 2020, Costanzo was at an entrance to Brooklyn Bridge Park, explaining what a countertenor is from the bed of the Bandwagon pickup truck. About a year later, he was just down the street, at St. Ann’s Warehouse, performing “Only an Octave Apart” with Bond.

That St. Ann’s show, and the new album it is based on, were inspired by Carol Burnett and Beverly Sills’ 1970s special of the same name, blending Bond’s gravelly pop with Costanzo’s classical repertoire.

“The dreaded word ‘crossover’ never even occurred to me because that’s not how I see this project,” Costanzo said. “Each thing amplifies the other and makes it more than what it is.”

Winokur directed the show, which featured arrangements by Nico Muhly, music direction by Thomas Bartlett and costumes (at times blinding) by Jonathan Anderson. It had Bond’s trademark political fervor masquerading as frivolity, and laughs galore, but also, opening as performances cautiously returned indoors, a touch of melancholy.

“It tethered us to ourselves throughout the pandemic,” Bond said, adding that with two artists, one transgender and the other a countertenor, whose voices routinely defy expectations based on appearances, “it was one of the most profoundly queer projects I’ve ever been involved in.”

Costanzo, used to the rigor and precision of classical music, grew comfortable with a looser style. Bond, usually not needing more than a bare stage and a small band, developed an appreciation for the interlocking parts of a large production. Now they plan to take the project as far as possible.

“What we say is that we should try to EGOT with this,” Costanzo said, referring to the rare artist who wins an Emmy, Grammy, Oscar and Tony.

At the very least, “Only an Octave Apart” will travel to the Philharmonic — where excerpts, arranged for orchestra by Muhly, close this week’s program. “I’m very aware of how queer this is in that space,” said Winokur, who is returning to direct the concert presentation. “But it doesn’t really have any choice to be any other way.”

Bond said there will still be banter and gags: “I’m not just going to stand up there and be silent. That’s not the way I do it.”

“Authentic Selves” also includes premieres by Joel Thompson and Gregory Spears, both settings of commissioned texts by poet Tracy K. Smith; an unconventional take on Berlioz’s “Les Nuits d’Été,” which is virtually never sung by a countertenor; the Philharmonic’s first performances of work by the posthumously rediscovered composer Julius Eastman; and a series of talks and community events.

“I’m an artist first,” Costanzo said, “but my brain exists in a world of engagement, marketing, education, press, leadership, fundraising, collaboration, curation — all of those things.”

He often sounds like an administrator in the making. Opera singers, like ballet dancers and professional athletes, all face expiration dates. Borda said that, while Costanzo should stay onstage as long as it’s comfortable, “when I see a talent like that, he should be running an opera company or an orchestra.”

Bond said that it was just a matter of what Costanzo wanted to do: “He could limit himself to something as small as running the Met, but I can see him doing more than that.”

Costanzo said the future is “always” on his mind.

“I feel like my identity is and always will be as a singer, but I’m most interested in where I can have impact,” he added. “So far that’s as a combination of being a singer and sometimes being a producer and creator and leader. If at some point the impact looks like it’s going to be in the direction of not singing, that doesn’t really faze me.”

This article originally appeared in The New York Times.