Castrati Essay
There are many monumental eras throughout musical history. The Baroque musical period dates from the end of the Renaissance era, approximately 1600 to the beginning of the Classical music era, around 1750. The baroque musical era is notable for many changes in the arts including the development of the opera and the castrato. The castrato, introduced to the society during the 16th century, famously known for their male sopranos with voices of great range, flexibility and power. Also known as the castrati, these male singers were castrated in childhood to preserve the treble pitch of their voice prior to transitioning into adulthood. According to the Encyclopedia Britannica, “the practice of castration, produced an adult voice
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of extraordinary power attributable to the greater lung capacity and physical bulk of the adult male” due to the alteration in hormone levels which attribute to the larger body size, and round, soft, hairless face. According to “Castration Affected Skeleton Of Famous Opera Singer Farinelli, Archaeologists Say”, the study of Farinelli’s skeleton exhibited momentous differences from that of average males which can be credited to the alternation in hormone levels present after castration. (Forbes.com) These noteworthy differences included long limb bones, abnormal height, the lack of epiphyseal fusion, osteoporosis, and hyperostosis frontalis interna. Osteoporosis and hyperostosis frontalis interna are two conditions most commonly seen in postmenopausal women and not men further attributing the differences to abnormal hormone levels. Aside from the difference in body structure, the voice was significantly different. Due to the lack of hormones, the voice did not deepen, the vocal cords remained short allowing them to vibrate faster producing higher notes and their voices did not break as expected in puberty. According Nicholas Clapton, “The voice had more power than any other voice, more flexibility and more brilliance. They could sing more notes in one breath than anyone else, yet they weren’t just vocal acrobats. “They had amazing control over their voices. They could sing the highest notes with a softness and emotion that could reduce people to tears.” https://www.newscientist.com/article/mg18925441-900-blasts-from-the-past-superstar-soprano-males/ Not much is known about the castration process itself as it was prohibited. Although their identities were kept hidden due to the nature of their job, these illegal procedures were performed by surgeons, doctors and even the town barber. Usually the process was performed on boys between 7-9 years old or prior to puberty. Much of the procedure remains a mystery, however it is rumored that it was completed either by severing the spermatic cords causing the testicles to die off or by drugging a young boy with opium and placing him in a warm bath in order for the testicles to become tractable prior to removal of the whole scrotum. The latter commonly led to hemorrhage and sepsis. Upon completion, these young boys were told many stories of accidental loss of their testicles such as “being gored by wild boar” or “disease of the testicles.” Becoming a castrati was not easy. Castration aside; it took vigorous training. This training consisted of both morning and afternoon sessions. Schooling revolved around learning composition, singing, execution, understanding theory, studying improvisation, studying instruments, studying counterpoint, practicing facial expressions while singing and proper word pronunciation. The Castrati rose in popularity with the development of polyphonic church music and the creation of the opera and its presence on the Italian music scene. This new ornamentation of polyphonic music favored higher octave voices. As a result of this, the pope employed adult males and male children to sing in its choir starting in 1553. Males maintaining their young voice were imperative because the church did not permit women to sing in public. In fact two biblical passages "Let your women keep silence in the churches," (I Corinthians 14:34), and "Let the woman learn in silence with all subjection, But I suffer not a woman to teach, nor to usurp authority over men, but to be in silence." (I Timothy 2:11-12), commonly set the role for women at the time. It was also found that young children did not achieve the same power and strength in their voice as their adult counterparts. By 1640, all churches throughout Italy contained choirs with castrati as their members with this practice lasted roughly three centuries even though castration went against canon law. The church justified their actions with their belief that the music was for God so it must be celebrated and honored. Castration was not just a violation of canon law but was also illegal. The rise of castrati led to an increase in accidental castration by injury or illness.
The creation of the opera led to the increase in castrati because the opera became very popular for both the wealthy and lower socioeconomic classes. At the start, the castrati held both religious and operatic roles. When the opera transitioned outside of the church, women were granted an opportunity to participate in the opera but this only solidified opinions that the male soprano voice was preferred. Also, upon movement out of the Papal States, poor families were approached by “private patrons, church fathers, or singing companies” with an opportunity to join the ranks of the castrati. http://io9.gizmodo.com/what-did-it-mean-to-be-a-castrato-1732742399. With no prior knowledge of their son’s skills or vocal quality, parents granted permission for the castration procedure to be performed on their sons in hopes that they would be the next great castrati. The results of the procedure were unpredictable due to the lack of pre-assessment of the boy’s voices however families took the risk believing achieving the status of a castrati would bring fame, fortune and honor to their already underprivileged families. As a result, many male children were castrated with no movement in the ranks however those whose voices proved of proper quality were granted education, training and musical mentoring to develop their breathing and vocalizations. Upon completion of their schooling, these boys could be found in operas and choirs throughout the country.
The opera declined in popularity in the mid-1800s, with the final opera performed on stage in 1829 by Giovanni Velluti. With the decline in opera enthusiasm and performance, came a smaller demand for castrati. With no operas to perform, the castrati remained in the choirs until 1902, at which time they were banned by the Pope and Papal States.
Castration remains illegal till this day and has been banned since the 19th century. The last castrati, Alessanfro Moreschi, died in 1922 at the age of 64 estimating he was castratized around 1865. Moreschi was the only castrati recorded on audio between 1902-1904. Although poor in quality, this audio provides an opportunity for today’s culture to listen to and understand the aesthetics and quality of a castrati’s voice. The recordings also help us to understand that despite their training and talent, musicians today cannot achieve the same vocal quality, octave and duration as the castrati. In listening to the audio, we also hear the massive difference from the opera of the 19th century to that of what we consider the opera today. For one, the opera today contains women and secondly, although still consider strong and the male voices are not nearly as feminine.
There are many talented documented castrati throughout history. Many may not recognize these artists by name as it was common practice for castrati to be granted stage names for which they were referred to. Carlo “Farinelli” Broschi, Francesco “Senesino” Bernardi, and Giovanni “Cusaninio” Carestini are a few of the most notable castrati between the 16th and 18th centuries.
Carlo “Farinelli” Broschi, considered the greatest opera singer from the 18th century, was born in 1705 and died in 1782. (medieval.org) “His voice could span over three octaves and his thoracic development allowed him to hold a note for a whole minute without taking breath” (Jenkins, 1998). Aside for his notable voice, Farinelli was also noteworthy due to his noble birth. His castration was granted by his brother Ricardo. Farinelli was unaware at the time that his brother was involved in his castration as he was told that the castration happened during a riding accident win which he fell from a horse. He studied under Nicola Porpira, in Naples, at the Conservatory of S. Onofrio. His first performance was by the well known Pietro “Metastasio” Trapassi in Aneglia e Medoro. He performed throughout Western Europe, starting at 32 years old, before settling in Spain, where he performed until retirement at 55 for the King. During his time in Western Europe, he was predominately in London with the Opera of Nobility, however it was noted that he never sang an opera from composer Handel. While in Spain, Farinelli, spent much of his time his time in court singing for Philip V daily however he did not only occupy his time as a castrati. Farinelli also directed the court opera house, enhanced the court irrigation system, and imported Hungarian horses to breed with the Spanish horses in order to improve the breed. Farinelli also played the harpsichordist and the viola d’amore and occasionally composed his own music. One piece of music he composed was titled Ossequiosissimo ringraziamento and La partenza. He appeared in Artaserse and Idaspe.
Unlike Farinelli, Francesco “Senesino” Bernardi was the son of the town barber. This is what led to the creation of his stage name since his father’s name was Sennese. He studied under Bernacchi. He had his start in the Sienna cathedral choir and joined the opera stage in Venice in 1707 for one year. He then moved on to Genoa from 1709-1712 followed by Naples for one year and then Dresden. While in Dresden performing from 1717-1720, he was heard by Handel and recruited to join the Royal Academy. He relocated to London to join Handel from 1720-1728; performing in 13 of his operas. He also performed in 19 other composers’ operas. In doing so, he drew large crowds and was able to demand hefty salaries. He was Farinelli’s greatest rival due to the belief that his voice was more beautiful. He is known for roles in Sosarme, Siroe, Floridante, Giulio Cesare, Rodelinda, Admeto, , Tolomeo, Riccardo Primo, Ezio, Orlando, Flavio, Tamerlano, Scipione and Ottone. "Senesino (Bernardi, Francesco)."
Giovanni “Cusaninio” Carestini debuted to the stage in 1730 as he was studying his musicality for seven years. He also sang with Handel. In fact, Handel preferred Cusanino over Senesino when he heard both castrati sing in Italy. One of his most notable roles wa that of Arbace in Vinci and Metastasio’s Artaserse due to difficult and virtuosic arias. While with Handel, he pariticapted in the opers Arianna in Creta, Ariodante, Alcina, Deborah, Esther, and Athalia. He was known for his demands of high wages. Unlike his fellow castrati, Catestini did not use his stage name Cusanino. Carestini’s career peeked and waned quickly. His final role was in Ezio in 1758. Shortly after this role it is believed he passed.
The castrati where the pop stars of their generation.
According to Sarah Bardwell, director of the Handel House Museum in London, "The best castrati were superstars, admired by audiences, appreciated by composers and adored by female fans.” Due to their full voices and wide range, composers sought out the castrati to sing and perform their works much like song writers and publishing companies today seek out artists. The castrati had the ability to adapt the melodies to fit their voice. Its been documented that many of the great castrati all had their own preferences on what operas they would partake in, how they would enter an arena, begin a show, negotiate wages, and advise on their wardrobe. Also, when two castrati were performing together, it was common for them to offend one another by overriding each others techniques if they weren’t both well represented in the opera. Farinelli was known for his respect, modesty, work ethic, technicality, intelligence, and friendships. Caffarelli was a castrati known for leaving his operas midway to converse with women, insult his audience, impresarios and singers and refuse to sing with his partners. According to Boy Choir Costumes: History—Castriati, “Marchesi who insisted that his first appearance on stage, no matter which opera he happened to be performing, had to consist of himself at the top of a hill, carrying a lance and wearing a helmet adorned with red and white feathers. He also had to open every opera with the line "Where am I?" followed by a trumpet fanfare, after which he would sing an aria which was perfectly suited to show off his voice as he marched slowly down to the footlights to meet his adoring audience.” http://histclo.com/act/choir/hist/choir-histcas.html Similar to popstars today, not all were fans of the castrati. Some looked down on their ways. People frowned upon their lifestyles. These men were not permitted to marry in the church although many fraternized with women. They accumulated
massive fortunes and were perceived as greedy. Some also had poor tempers and selfish personalities. None the less, they were fabulous on stage, which drew in the supporters.
As previously stated, not many works have been recorded by the castrati to provide reference to how these men sounded when they performed. I listened to Ave Maria which was performed and recorded by Alessandro Moreschi. In listening, you hear a very different style of music then what we are used to today. It was reported the Moreschi was in his forties when he made the recording of Ave Maria, however, he sounds more feminine then even a female. If you listen closely, you can hear the range of notes Moreschi possess at such an age which we no longer see in our artists. Listening to this work of art makes you wonder what the operas of the 18th and 19th century sounded like when performed and the talent of these men.
of extraordinary power attributable to the greater lung capacity and physical bulk of the adult male” due to the alteration in hormone levels which attribute to the larger body size, and round, soft, hairless face. According to “Castration Affected Skeleton Of Famous Opera Singer Farinelli, Archaeologists Say”, the study of Farinelli’s skeleton exhibited momentous differences from that of average males which can be credited to the alternation in hormone levels present after castration. (Forbes.com) These noteworthy differences included long limb bones, abnormal height, the lack of epiphyseal fusion, osteoporosis, and hyperostosis frontalis interna. Osteoporosis and hyperostosis frontalis interna are two conditions most commonly seen in postmenopausal women and not men further attributing the differences to abnormal hormone levels. Aside from the difference in body structure, the voice was significantly different. Due to the lack of hormones, the voice did not deepen, the vocal cords remained short allowing them to vibrate faster producing higher notes and their voices did not break as expected in puberty. According Nicholas Clapton, “The voice had more power than any other voice, more flexibility and more brilliance. They could sing more notes in one breath than anyone else, yet they weren’t just vocal acrobats. “They had amazing control over their voices. They could sing the highest notes with a softness and emotion that could reduce people to tears.” https://www.newscientist.com/article/mg18925441-900-blasts-from-the-past-superstar-soprano-males/ Not much is known about the castration process itself as it was prohibited. Although their identities were kept hidden due to the nature of their job, these illegal procedures were performed by surgeons, doctors and even the town barber. Usually the process was performed on boys between 7-9 years old or prior to puberty. Much of the procedure remains a mystery, however it is rumored that it was completed either by severing the spermatic cords causing the testicles to die off or by drugging a young boy with opium and placing him in a warm bath in order for the testicles to become tractable prior to removal of the whole scrotum. The latter commonly led to hemorrhage and sepsis. Upon completion, these young boys were told many stories of accidental loss of their testicles such as “being gored by wild boar” or “disease of the testicles.” Becoming a castrati was not easy. Castration aside; it took vigorous training. This training consisted of both morning and afternoon sessions. Schooling revolved around learning composition, singing, execution, understanding theory, studying improvisation, studying instruments, studying counterpoint, practicing facial expressions while singing and proper word pronunciation. The Castrati rose in popularity with the development of polyphonic church music and the creation of the opera and its presence on the Italian music scene. This new ornamentation of polyphonic music favored higher octave voices. As a result of this, the pope employed adult males and male children to sing in its choir starting in 1553. Males maintaining their young voice were imperative because the church did not permit women to sing in public. In fact two biblical passages "Let your women keep silence in the churches," (I Corinthians 14:34), and "Let the woman learn in silence with all subjection, But I suffer not a woman to teach, nor to usurp authority over men, but to be in silence." (I Timothy 2:11-12), commonly set the role for women at the time. It was also found that young children did not achieve the same power and strength in their voice as their adult counterparts. By 1640, all churches throughout Italy contained choirs with castrati as their members with this practice lasted roughly three centuries even though castration went against canon law. The church justified their actions with their belief that the music was for God so it must be celebrated and honored. Castration was not just a violation of canon law but was also illegal. The rise of castrati led to an increase in accidental castration by injury or illness.
The creation of the opera led to the increase in castrati because the opera became very popular for both the wealthy and lower socioeconomic classes. At the start, the castrati held both religious and operatic roles. When the opera transitioned outside of the church, women were granted an opportunity to participate in the opera but this only solidified opinions that the male soprano voice was preferred. Also, upon movement out of the Papal States, poor families were approached by “private patrons, church fathers, or singing companies” with an opportunity to join the ranks of the castrati. http://io9.gizmodo.com/what-did-it-mean-to-be-a-castrato-1732742399. With no prior knowledge of their son’s skills or vocal quality, parents granted permission for the castration procedure to be performed on their sons in hopes that they would be the next great castrati. The results of the procedure were unpredictable due to the lack of pre-assessment of the boy’s voices however families took the risk believing achieving the status of a castrati would bring fame, fortune and honor to their already underprivileged families. As a result, many male children were castrated with no movement in the ranks however those whose voices proved of proper quality were granted education, training and musical mentoring to develop their breathing and vocalizations. Upon completion of their schooling, these boys could be found in operas and choirs throughout the country.
The opera declined in popularity in the mid-1800s, with the final opera performed on stage in 1829 by Giovanni Velluti. With the decline in opera enthusiasm and performance, came a smaller demand for castrati. With no operas to perform, the castrati remained in the choirs until 1902, at which time they were banned by the Pope and Papal States.
Castration remains illegal till this day and has been banned since the 19th century. The last castrati, Alessanfro Moreschi, died in 1922 at the age of 64 estimating he was castratized around 1865. Moreschi was the only castrati recorded on audio between 1902-1904. Although poor in quality, this audio provides an opportunity for today’s culture to listen to and understand the aesthetics and quality of a castrati’s voice. The recordings also help us to understand that despite their training and talent, musicians today cannot achieve the same vocal quality, octave and duration as the castrati. In listening to the audio, we also hear the massive difference from the opera of the 19th century to that of what we consider the opera today. For one, the opera today contains women and secondly, although still consider strong and the male voices are not nearly as feminine.
There are many talented documented castrati throughout history. Many may not recognize these artists by name as it was common practice for castrati to be granted stage names for which they were referred to. Carlo “Farinelli” Broschi, Francesco “Senesino” Bernardi, and Giovanni “Cusaninio” Carestini are a few of the most notable castrati between the 16th and 18th centuries.
Carlo “Farinelli” Broschi, considered the greatest opera singer from the 18th century, was born in 1705 and died in 1782. (medieval.org) “His voice could span over three octaves and his thoracic development allowed him to hold a note for a whole minute without taking breath” (Jenkins, 1998). Aside for his notable voice, Farinelli was also noteworthy due to his noble birth. His castration was granted by his brother Ricardo. Farinelli was unaware at the time that his brother was involved in his castration as he was told that the castration happened during a riding accident win which he fell from a horse. He studied under Nicola Porpira, in Naples, at the Conservatory of S. Onofrio. His first performance was by the well known Pietro “Metastasio” Trapassi in Aneglia e Medoro. He performed throughout Western Europe, starting at 32 years old, before settling in Spain, where he performed until retirement at 55 for the King. During his time in Western Europe, he was predominately in London with the Opera of Nobility, however it was noted that he never sang an opera from composer Handel. While in Spain, Farinelli, spent much of his time his time in court singing for Philip V daily however he did not only occupy his time as a castrati. Farinelli also directed the court opera house, enhanced the court irrigation system, and imported Hungarian horses to breed with the Spanish horses in order to improve the breed. Farinelli also played the harpsichordist and the viola d’amore and occasionally composed his own music. One piece of music he composed was titled Ossequiosissimo ringraziamento and La partenza. He appeared in Artaserse and Idaspe.
Unlike Farinelli, Francesco “Senesino” Bernardi was the son of the town barber. This is what led to the creation of his stage name since his father’s name was Sennese. He studied under Bernacchi. He had his start in the Sienna cathedral choir and joined the opera stage in Venice in 1707 for one year. He then moved on to Genoa from 1709-1712 followed by Naples for one year and then Dresden. While in Dresden performing from 1717-1720, he was heard by Handel and recruited to join the Royal Academy. He relocated to London to join Handel from 1720-1728; performing in 13 of his operas. He also performed in 19 other composers’ operas. In doing so, he drew large crowds and was able to demand hefty salaries. He was Farinelli’s greatest rival due to the belief that his voice was more beautiful. He is known for roles in Sosarme, Siroe, Floridante, Giulio Cesare, Rodelinda, Admeto, , Tolomeo, Riccardo Primo, Ezio, Orlando, Flavio, Tamerlano, Scipione and Ottone. "Senesino (Bernardi, Francesco)."
Giovanni “Cusaninio” Carestini debuted to the stage in 1730 as he was studying his musicality for seven years. He also sang with Handel. In fact, Handel preferred Cusanino over Senesino when he heard both castrati sing in Italy. One of his most notable roles wa that of Arbace in Vinci and Metastasio’s Artaserse due to difficult and virtuosic arias. While with Handel, he pariticapted in the opers Arianna in Creta, Ariodante, Alcina, Deborah, Esther, and Athalia. He was known for his demands of high wages. Unlike his fellow castrati, Catestini did not use his stage name Cusanino. Carestini’s career peeked and waned quickly. His final role was in Ezio in 1758. Shortly after this role it is believed he passed.
The castrati where the pop stars of their generation.
According to Sarah Bardwell, director of the Handel House Museum in London, "The best castrati were superstars, admired by audiences, appreciated by composers and adored by female fans.” Due to their full voices and wide range, composers sought out the castrati to sing and perform their works much like song writers and publishing companies today seek out artists. The castrati had the ability to adapt the melodies to fit their voice. Its been documented that many of the great castrati all had their own preferences on what operas they would partake in, how they would enter an arena, begin a show, negotiate wages, and advise on their wardrobe. Also, when two castrati were performing together, it was common for them to offend one another by overriding each others techniques if they weren’t both well represented in the opera. Farinelli was known for his respect, modesty, work ethic, technicality, intelligence, and friendships. Caffarelli was a castrati known for leaving his operas midway to converse with women, insult his audience, impresarios and singers and refuse to sing with his partners. According to Boy Choir Costumes: History—Castriati, “Marchesi who insisted that his first appearance on stage, no matter which opera he happened to be performing, had to consist of himself at the top of a hill, carrying a lance and wearing a helmet adorned with red and white feathers. He also had to open every opera with the line "Where am I?" followed by a trumpet fanfare, after which he would sing an aria which was perfectly suited to show off his voice as he marched slowly down to the footlights to meet his adoring audience.” http://histclo.com/act/choir/hist/choir-histcas.html Similar to popstars today, not all were fans of the castrati. Some looked down on their ways. People frowned upon their lifestyles. These men were not permitted to marry in the church although many fraternized with women. They accumulated
massive fortunes and were perceived as greedy. Some also had poor tempers and selfish personalities. None the less, they were fabulous on stage, which drew in the supporters.
As previously stated, not many works have been recorded by the castrati to provide reference to how these men sounded when they performed. I listened to Ave Maria which was performed and recorded by Alessandro Moreschi. In listening, you hear a very different style of music then what we are used to today. It was reported the Moreschi was in his forties when he made the recording of Ave Maria, however, he sounds more feminine then even a female. If you listen closely, you can hear the range of notes Moreschi possess at such an age which we no longer see in our artists. Listening to this work of art makes you wonder what the operas of the 18th and 19th century sounded like when performed and the talent of these men.