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‘Endgame,’ at Last: The Week in Classical Music

I’ve had countertenors on the brain lately, and not just because we’re approaching season for that most angelic of Christmas fachs. The voice type, which experienced a kind of renaissance in the 1990s, appears to be making another comeback right now, with new opera roles and acting opportunities cropping up at the Metropolitan Opera and on Broadway. Yet while the previous generation tended to float on an airy cloud of early-music primness, this new generation feels a bit more hip. Iestyn Davies is putting his high-flying stamp on a swathe of new operas, most recently Nico Muhly’s “Marnie.” John Holiday is equally at home in Handel’s “Ombra mai fu” and “Fly Me to the Moon.”

And then there’s young Jakub Jozef Orlinski, the handsome Juilliard graduate who won big at the Met’s National Council Auditions in 2016. He is in ad campaigns for Levi’s and Nike, and — mic drop — also breakdances. Last month, Mr. Orlinski released his Warner/Erato debut album, “Anima Sacra,” a collection of sacred arias featuring period orchestra Pomo d’Oro. It’s a generous helping of 23 songs, including works by some Baroque regulars as well as people I didn’t know quite as well, like the 18th-century Domènec Terradellas, whose dignified “Donec ponam” is sung with lovely, twisting, legato line. New York admirers will have the chance to catch the B-boy in action in January, when he makes his Carnegie Hall solo concert debut alongside members of New York Baroque Incorporated. JOEL ROZEN

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