Carlo Broschi, called Farinelli (1705-82, portrait right), is known as one of the most famous castrati. Obviously, we have no recording of his unique voice, but ARTKABINETT social network of fine art collectors can explore the collection of this amazing performer, who supported the work of other artists.
Castration was banned in the 19th century, and the last castrato in the Western World died in 1922. Castrati were virtuoso musicians, exceptionally talented and trained. Almost nothing in their repertoire can be performed nowadays.
Castrati were particularly known for their unique timbre: because of the surgery performed on them, their voice did not change with puberty.
Upon adulthood, the size of their thoracic cage, their lung capacity, their physical stamina and their strength were usually above that of most men. They had, as a consequence, great vocal power, and some were able to sing notes for a minute or more.
Finally, a small and flexible larynx, and relatively short vocal chords allowed them to vocalize over a rather wide range (over 3 and 1/2 octaves) and to sing with great agility (they could control wide intervals, long cascades and trills). Furthermore, castrati were initially selected among the best singers and received intensive training.
He was born in Apulia to a family of minor nobility, an unusual circumstance as castrati typically came from poor families. Following in the tradition of those before him, he was sent to a 'conservatory', a place reserved for the training of castrati.
These schools gave the boys extensive voice training, lessons on composing and provided them with the opportunity to improvise musically and even compose.
In early eighteenth-century opera, the castrato voice was considered essential, often written as the character of the hero. Composers such as George Fredrick Handel and Claudio Monteverdi wrote for the castrato voice; Wolfgang Amadeus Mozart included a part for a castrato in his opera, Idomeneo.
Castrati seem to have had an almost magical effect on people, perhaps because of their sexual ambiguity and element of fascination. They themselves were considered to be "half-godlike, half-human beings," often taking on the roles of famous Greek and Roman heroes from antiquity.
They became spectacularly wealthy and served as fine arts patrons.
Th famous painting at right by Jacopo Amigoni was originally owned by Farinelli, and may have been acquired by him when both men were living in London as part of the arts scene there (Venus Disarming Cupid, 1730s or 1740s; oil on canvas, 76.0 x 63.7 cm. (29-15/16 x 25-1/16 in.). Ackland Fund, 86.47.)
They became lifelong friends as they adapted their careers to shifting patterns of patronage, taste, and artistic styles. During their extended association, Farinelli often acted as Amigoni's protector and patron, while Amigoni in turn advanced the fame of the singer.
Their concurrent lives illustrate the itinerancy of Italian artists and musicians during the eighteenth century and demonstrate how Italian subcultures functioned in northern European societies.
While both Amigoni and Farinelli enjoyed exposure to prevailing artistic tastes at German-speaking courts, they also benefited from their mutual Italian legacy, Italy being viewed by the north as a cosmopolitan center of art and theatre. After a shared success in London, they both concluded their careers in the employ of Madrid's Bourbon royalty.
In the related worlds of art and theater in eighteenth-century Europe, the social and artistic circles of Amigoni and Farinelli merged with those of colleagues, collectors, and connoisseurs. During this period in Europe and England, artists and musicians also preserved close associations with the nobility who acted as patrons and advocates.
