Is this recent trend part of trying to be authentic, as those 2 performances used original instruments? Did Bach call specifically for countertenor in his lifetime?
Bach did not need to specifically call for countertenors, because at the time he was composing, it was a given that all parts were sung by men or boys (unless the piece was specifically composed for girl choir). Soprano and alto parts would be assigned to boys whose voices had not yet changed.
Bach was in Weimar from 1708 – 1717. The list of musicians in the court in 1714 – 1715 includes clearly and only male names for the higher-voices singers.
Johann Philipp Weichardt ..... discant [i.e., high voice]
Johann Christian Gerrmann .... discant
Christian Gerhard Bernhardi .. alto
(Wolff 158, Table 6.2)
Many of Bach's cantatas were written from 1723 – 1729 during his time directing the St. Thomas School's musical activities.
Most of the vocal concertists were found among the alumni [emphasis original] assigned to the first choir, an elite group consisting of the best twelve to sixteen singers. Their entry ages as resident choral scholars varied, but they usually began as thirteen- or fourteen-year-old sopranos, invariably with prior singing experience in other Latin school choirs, and they stayed for maximum of eight years, usually two years per class. Because in the eighteenth century the change of voice occurred later than it does today, many of the boys could sing soprano for several more years. (Wolff 260)
Wolff, Christian. 2000. Johann Sebastian Bach: The Learned Musician. W.W. Norton & Company.
Bach was a church musician with a certain budget and certain conditions he had to perform with. That implies an all-male choir and typically male soloists, often adolescents. "Did Bach call for" however is not a question about how the performances were usually made but what Bach did envision or at least would have wanted.
Bach himself did in a number of pieces just ignore performance constraints and expected best-fit replacements. There was his Great Catholic Mass in B minor where a "historically informed practice" would demand it not be performed as all, written in an old rite no longer performed in Catholic churches and certainly not in Protestant ones. There are four-part fugues for solo violin and other works where it takes a lot of performer's judiciousness to arrive at an execution.
A male countertenor would certainly be period-adequate for a Bach performance, but Bach did not employ them ironically (like one would a drag queen). So it's more doing a favor to current audiences who want to imagine reexperiencing what the old audiences witnessed than following Bach's vision in a particularly validated manner.