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A castrato (Italian; pl.: castrati) is a male singer who underwent castration before puberty in order to retain a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice can also occur in one who, due to an endocrinological condition, never reaches sexual maturity .
Around Easter 1914 he met Viennese musicologist Franz Haböck, author of Die Kastraten und ihre Gesangskunst (The Castrati and their Art of Singing, published in Berlin in 1927), who had planned to cast Moreschi in concerts reviving the repertoire of the great eighteenth-century castrato Farinelli. However, Moreschi (now fifty-five years old ...
Michael Maniaci (born May 3, 1976) is an American opera singer. Possessing a male soprano voice, Maniaci is noted for his claim to be able to sing into the upper soprano range without resorting to falsetto, an otherwise common phonation for men who sing in high registers, such as countertenors.
YouTube TV is an American over-the-top Internet Protocol streaming television platform operated by YouTube, a subsidiary of Google, which in turn is a subsidiary of Alphabet Inc., who announced YouTube TV on February 28, 2017. [2]
Some male operatic roles originally written to be sung in the voice range of castrati (men castrated in boyhood, whose voices never descended into the normal male register) are now usually cast with female singers in male costume. Beethoven's only opera, Fidelio, is unusual in that it features a female character who cross-dresses as part of the ...
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Gluck's Orfeo ed Euridice: Originally written for a castrato, "Orfeo" is sung by a mezzo-soprano, contralto or counter-tenor; Gluck's Paride ed Elena: Originally written for a castrato, "Paride" is sung by a soprano; Gounod's Faust: "Siebel" is sung by a contralto, a mezzo-soprano or a soprano; Gounod's Romeo and Juliet: "Stefano" is sung by a ...
Born in Siena in about 1735, Tenducci became a castrato and he was trained at the Naples Conservatory. [2] Castration was illegal in both church and civil law, but the Roman Church employed castrati in many churches and in the Vatican until about 1902; and throughout the 17th and 18th centuries the public paid large sums of money to listen to the spectacular voices of castrati in the opera houses.
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