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Read on……………………….

A castrato is a man with a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto voice produced either by castration of the singer before puberty or one who, because of an endocrinological condition, never reaches sexual maturity. Castrati should not be confused with eunuchs, who are castrated after puberty and do not share the physical characteristics of someone castrated before puberty.

Castration before puberty (or in its early stages) prevents a boy’s larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. As the castrato’s body grew, his lack of testosterone meant that his epiphyses (bone-joints) did not harden in the normal manner. Thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with intensive training, gave them unrivalled lung-power and breath capacity. Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible, and quite different from the equivalent adult female voice, as well as higher vocal ranges of the uncastrated adult male (see soprano, mezzo-soprano, alto, sopranist, countertenor and contralto). Listening to the only surviving recordings of a castrato (see below), one can hear that the lower part of the voice sounds like a “super-high” tenor, with a more falsetto-like upper register above that.

In more recent times, perhaps the strongest objection to castrati in Europe originated in the means by which the preparation of future singers frequently led to their premature deaths. To prevent the child from experiencing the intense pain of castration, many were inadvertently administered lethal doses of opium or some other narcotic, or were killed by overlong compression of the carotid artery in the neck (intended to render them uncoinscious during the casration procedure).
The least mutilating procedure was to sever the spermatic cords, after which the testes atrophied or in his words “grow lank and flabby till at last they dry up”.

In another method the boy was first put into a warm bath to make the testes more tractable. The author continues: “Some small time after they pressed the Jugular Veins which made the Party so stupid and insensible that he fell into a kind of Apoplexy and then the action would be performed with scarce any Pain at all to the Patient”. Presumably bilateral pressure on the carotid vessels caused temporary loss of consciousness. Or again: “Sometimes they used to give a certain quantity of Opium to Persons designed for Castration whom they cut while they were in their dead Sleep and took from them those Parts which Nature took so great care to form; but it was observed that most of those who had been cut after this manner died by this Narcotick. It was thought more advisable to practise the Method just mentioned”.

The training of the boys was rigorous. The regime of one singing school in Rome (c. 1700) consisted of one hour of singing difficult and awkward pieces, one hour practising trills, one hour practising ornamented passaggi, one hour of singing exercises in their teacher’s presence and in front of a mirror so as to avoid unnecessary movement of the body or facial grimaces, and one hour of literary study; all this, moreover, before lunch. After, half-an-hour would be devoted to musical theory, another to writing counterpoint, an hour copying down the same from dictation, and another hour of literary study. During the remainder of the day, the young castrati had to find time to practice their harpsichord playing, and to compose vocal music, either sacred or secular depending on their inclination.[5] This demanding schedule meant that, if sufficiently talented, they were able to make a debut in their mid-teens with a perfect technique and a voice of a flexibility and power no woman or ordinary male singer could match.

After the unification of Italy in 1870, castration for musical purposes was made officially illegal (the new Italian state had adopted a French legal code which expressly forbade the practice).
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So-called “natural” or “endocrinological castrati” are born with hormonal anomalies such as Kallmann’s syndrome, or have undergone unusual physical or medical events during their early lives that reproduce the vocal effects of castration without the surgeon’s knife. Javier Medina, Radu Marian and Jorge Cano are examples of this type of high male voice. The case of Michael Maniaci is somewhat different, in that he has no hormonal or other anomalies, but for some unknown reason, his voice did not “break” in the usual manner, leaving him still able to sing in the soprano register. Other uncastrated male adults sing soprano, generally using some form of falsetto, but in a much higher range than the more common countertenor. Examples are Aris Christofellis, Radu Marian, Jörg Waschinski, and Ghio Nannini. All these are gifted performers, but it must be remembered that, having been born in the twentieth century, they and the few others like them have not undergone the type of rigorous training through adolescence endured by the castrati of the eighteenth century. Thus their technique is distinctly “modern”, and they lack the tenorial chest register that the castrati possessed. An exception is the jazz vocalist Jimmy Scott who uses only the low register, matching approximately the range used by female blues singers. Similarly, Turkish singer Cem Adrian has the ability to sing from bass to soprano, as his vocal cords are three times the length of an average person’s.