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- Path: sparky!uunet!usc!news.service.uci.edu!maemaster.eng.uci.edu!jdooley
- From: jdooley@maemaster.eng.uci.edu (John R. Dooley)
- Subject: Re: male alti, counter-tenors, castrati, and so on
- Nntp-Posting-Host: maemaster.eng.uci.edu
- Message-ID: <2B39E6C2.912@news.service.uci.edu>
- Newsgroups: rec.music.classical
- Organization: University of California, Irvine
- Lines: 26
- Date: 24 Dec 92 16:35:14 GMT
- References: <1992Dec23.012124.25043@news.cs.brandeis.edu> <1992Dec23.150355.24969@jhunix.hcf.jhu.edu> <1hbsk5INNdb4@mizar.usc.edu>
-
- In article <1hbsk5INNdb4@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:
- >In article <1992Dec23.150355.24969@jhunix.hcf.jhu.edu>
- >velde2@jhunix.hcf.jhu.edu (Francois Velde) writes:
- >
- >>Related question: what did a castrato sound like: a soprano or a countertenor?
- >
- >Neither. They sounded like boy sopranos, but the voices were
- >powered by adult lungs. Moreschi, the only castrato to have
- >made recordings, sounds quite unlike any other singer I've
- >ever heard. In _The Record of Singing_, Michael Scott claims
- >that Luisa Tetrazzini had something of a castrato sound, and
- >Toscanini said that the young Ethel Merman sounded just like
- >the castrati in the Vatican choir he'd heard as a boy.
- >
-
- I suspect some castratos also sounded like boy altos.
- For instance, I recall in Handel's Flavio, he composed parts for
- a male soprano and male alto (both castratos), and a countertenor,
- among other male and female vocalists.
-
- A question I would have is that it seems fairly common
- for the roles kings and emperors and such to have been set
- for castrato soprano. Is there a known reason for this?
-
- John D.
-
-