[How did the castratos sing? Historical observations]

Historical observations In Church music from the early beginnings to the 19th century, women were not allowed to sing, because of a wrongly interpreted quote of the Apostle Paul. Paul had ordered women to keep silence in ecclesia, it means: in the community and in the congregation, but he himself never mentioned a ban on singing in church. The castratos gradually replaced the men singing falsetto due to the latter's weaker singing performance from the 17th century onwards. They originated mostly from simple social backgrounds. Many poor families in Italy in the 17th and 18th centuries had up to 15 children and there was far too little work for the population. Some castratos were the stars of the opera. But as human beings they were discriminated. The castration took place mostly between the 7th and 12th years of their lives and many died as a result of the operation. The singing-lessons thereafter lasted 5-6 years. In the 18th century, the most famous castrato was Carlo Broschi, named Farinelli (1705-1782). Numerous arias sung by him are still in existence as scores, some are high quality concert pieces. There are modem versions on CD sung by a counter-tenor or a mezzo-soprano as soloists. Farinelli was able, during a visit to Spain, to improve with his singing the mood of two severely depressive kings. In the late 18th and in the 19th century, the castratos were increasingly replaced by tenors and women singers. The only historical sound recordings were sung by one of the last castratos, Alessandro Moreschi (1858-1922). The recordings were made in 1902 and 1904 in the Vatican. The arias are in the style of the end of the 19th century and contain no longer anything of the bravura arias so admired by the audiences in the 18th century. Since the end of World War II, the high male voices have experienced a renaissance.