Castrati
History of Castrati
The term "castrati" refers to male singers who were castrated before puberty to preserve their high-pitched vocal range. This practice, which began in the 16th century and continued into the 19th century, was primarily associated with the Roman Catholic Church and the opera houses of Italy. The castration procedure was performed to prevent the larynx from developing normally, resulting in a unique voice that combined the power of an adult male's lungs with the vocal range of a prepubescent boy.
Origins and Early History
The origins of the castrati can be traced back to the Byzantine Empire, where eunuch singers were employed in the court and church choirs. However, the practice became more widespread in Italy during the Renaissance. The Catholic Church initially banned women from singing in church choirs, leading to the demand for male sopranos and altos. Castrati filled this role, and their voices were highly valued for their purity and power.
Rise to Prominence
By the 17th century, castrati had become prominent figures in both sacred and secular music. They were particularly celebrated in Baroque opera, where their unique vocal abilities were showcased in elaborate arias. Composers such as Handel and Vivaldi wrote roles specifically for castrati, and their performances were often the highlight of the opera season.
Vocal Characteristics
The voice of a castrato was characterized by its extraordinary range and flexibility. Castrati could sing both soprano and alto parts, and their voices were described as having a bright, penetrating quality. The combination of a child's vocal cords and an adult's lung capacity allowed for exceptional breath control and agility, making them capable of executing complex vocal ornamentation with ease.
Training and Repertoire
Castrati underwent rigorous training from a young age, often starting their musical education at conservatories known as "conservatori" in Italy. Their training included not only vocal technique but also general musical education, including counterpoint, composition, and performance practice. The repertoire for castrati included both sacred music, such as oratorios and cantatas, and secular music, particularly opera.
Social and Cultural Impact
The phenomenon of the castrati had a significant impact on European music and culture. They were among the most celebrated and highly paid musicians of their time, and their fame often rivaled that of contemporary virtuoso instrumentalists. However, their existence also raised ethical and moral questions, particularly regarding the practice of castration.
Ethical Considerations
The practice of castration for musical purposes was controversial, even in its own time. Critics argued that it was a form of mutilation and exploitation, particularly as many boys who underwent the procedure did not achieve successful careers as singers. The Catholic Church eventually condemned the practice, and it was officially banned in the late 19th century.
Decline and Legacy
The decline of the castrati began in the late 18th century, as changing musical tastes and social attitudes led to a preference for more natural vocal timbres. The last known castrato, Alessandro Moreschi, died in 1922, marking the end of an era. Despite their decline, the legacy of the castrati lives on in the music written for them and in historical recordings.
Modern Interpretations
Today, the music originally composed for castrati is often performed by countertenors or female sopranos. Countertenors, who sing in a falsetto register, can approximate the sound of the castrati, though their voices lack the same power and timbre. Modern performances of Baroque opera and sacred music continue to explore and celebrate the unique contributions of the castrati to the musical canon.