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The singer in question was a pupil of Moreschi's, Domenico Mancini, such a successful imitator of his teacher's voice that even Lorenzo Perosi, Direttore Perpetuo of the Sistine Choir from 1898 to 1956 and a strenuous opponent of the practice of castrato singers, thought he was a castrato.
Farinelli is widely regarded as the greatest, most accomplished, and most respected opera singer of the "castrato" era, which lasted from the early 1600s into the early 1800s, and while there were a vast number of such singers during this period, originating especially from the Neapolitan School of such composers as Nicola Porpora, Alessandro ...
Critical opinion is divided about Moreschi's recordings, [18] some say they are of little interest other than the novelty of preserving the voice of a castrato, and that Moreschi was a mediocre singer, while others detect the remains of a talented singer unfortunately past his prime by the time of recording, as Moreschi was in his mid-forties ...
The prologue begins with Carlo Broschi, the famous castrato Farinelli, reminiscing about his childhood as a singer in the church choir. A newly castrated boy runs in and warns Carlo that his voice will result in death, then ends himself.
Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati (castrated males) are now sung and recorded by countertenors, as are some trouser roles originally written for female singers.
Charles Burney, a contemporary music historian, described the Florentine castrato thus: "Manzoli's voice was the most powerful and voluminous soprano that had ever been heard on our stage since the time of Farinelli; and his manner of singing was grand and full of dignity. The applause he received was a universal thunder of acclimation."
Domenico Salvatori (27 September 1855 – 11 December 1909) along with Alessandro Moreschi, Domenico Mustafà and Giovanni Cesari, was one of the famous castrati singers of the late 19th century. Born in Anagni , he first started as a contralto at the Cappella Giulia which he later abandoned in order to enter as a now soprano or mezzo to the ...
In Carnival 1726, aged 15, he made his debut at Rome in Domenico Sarro's Valdemaro, singing the third female role, and listed with the stage name “Caffarellino.”His fame spread rapidly throughout Italy during the 1730s, with performances at Venice, Turin, Milan, Florence, before returning to Rome for a great success in Johann Adolf Hasse's Cajo Fabricio.