First, the term countertenor is very inexact, and is often used as a catch-all for many different voice types or fachs. Countertenor is perhaps most appropriate for male singers who use falsetto (often without vibrato) to sing early or baroque music. Many singers -- who perform operatic repertoire, i.e. David Daniels -- prefer the designation male alto. The distinction is well deserved.
George is absolutely correct that there are different labels for different types of male sopranists, as shown by this chart at Trrill. But Nick points out that labels have been fluid in the last 100 years, so 'countertenor' has become acceptable for any male voice singing in the alto range, despite the repertoire, style, or means of singing. Anglican/Episcopalian Men and Boy choirs call their male falsettists 'countertenors,' whether they are performing Monteverdi or Mauridsen. And most importantly, Mikhael refers to himself as a countertenor, so we should respect his opinion in this.
George's other quibble is with my suggestion that countertenors would not blend well with female mezzos. I am happy to accept that I could be wrong in this. I am not trained as a choir director. My own experiences in choir are limited to being a boy soprano in a boy's choir until I was 14, and singing as a baritone in my high school choir. The timbres I experienced in these two choirs were very different, something that I thought a choir director may want to avoid if possible. In Mikhael's case, he was denied singing in the All-State Choir, a group that probably only rehearses for one or two weeks before performing. With such limited time, blending becomes even more of a challenge so auditions may be looking for homogenity in timbre rather than for distinctively strong voices. But again, IANACD. What are your thoughts?