Arias For Castrati
Speak of castrati, many people would think of the baroque period, the zenith of vocal era. Some vocal pieces from that time seem to be "impossible mission" for most common professional singers nowadays for the difficulty of the coloratura and ornamental section. Here I would like to introduce some recordings of vocal works composed for castrati, some of which were specially written for the most famous castrato star – Farinelli. The difficulty of these songs contained in the playlist is of the highest degree.
Alessandro Moreschi was the last castrato and also the only one who made records. Although counter-tenors and mezzo-sopranos around the world have been trying their best to approach those high-technique arias, there are still some impassable barriers.
For counter-tenors, vocal technique may be the major problem. Angelo Manzotti, one of the greatest counter-tenor, is known as "the new Farinelli". Comparing his recording "Riccardo Broschi: Qual guerriero" with Vivica Genaux's, we can see that he had difficulty in performing this most complex aria. In addition, he had simplified some complicated ornamental sections and several faults occurred due to technical troubles.
For mezzo-sopranos, there are two problems that stop them from surpassing the level of castrati. The first one is concerning vital capacity. Some evidence shows that within a single breath, Farinelli could sustain a note for more than one minute or produce 250 notes. (The contemporary acknowledged best mezzo-soprano, Bartoli could, within a single breath, only sustain a note for less than 30 seconds.) The second is regarding their vocal range. Compared with counter-tenors, Mezzo-sopranos are expected to have better vocal technique, whereas they could never be able to reach the vocal range of a bass. Some ornamental sections of Castrati' arias would, for instance, reach as low as G3. Manzotti's recording has already given us an answer because the range of his recording is over three octaves.
Truly, Farinelli was a unique master and there will never again be another who will be able to duplicate his greatness.
Sample score of Son qual nave ch'agitata & Qual guerriero in campo armato
Alessandro Moreschi was the last castrato and also the only one who made records. Although counter-tenors and mezzo-sopranos around the world have been trying their best to approach those high-technique arias, there are still some impassable barriers.
For counter-tenors, vocal technique may be the major problem. Angelo Manzotti, one of the greatest counter-tenor, is known as "the new Farinelli". Comparing his recording "Riccardo Broschi: Qual guerriero" with Vivica Genaux's, we can see that he had difficulty in performing this most complex aria. In addition, he had simplified some complicated ornamental sections and several faults occurred due to technical troubles.
For mezzo-sopranos, there are two problems that stop them from surpassing the level of castrati. The first one is concerning vital capacity. Some evidence shows that within a single breath, Farinelli could sustain a note for more than one minute or produce 250 notes. (The contemporary acknowledged best mezzo-soprano, Bartoli could, within a single breath, only sustain a note for less than 30 seconds.) The second is regarding their vocal range. Compared with counter-tenors, Mezzo-sopranos are expected to have better vocal technique, whereas they could never be able to reach the vocal range of a bass. Some ornamental sections of Castrati' arias would, for instance, reach as low as G3. Manzotti's recording has already given us an answer because the range of his recording is over three octaves.
Truly, Farinelli was a unique master and there will never again be another who will be able to duplicate his greatness.
Sample score of Son qual nave ch'agitata & Qual guerriero in campo armato