sing. They were so well trained and talented that they could improvise cadenzas on their feet. It is well believed that castrati were only known for singing fast agile coloratura, when in fact they were also well known for the sheer power and volume of their voices. As a result it is important to look at not only agility but also vocal strength when it comes to casting castrati roles in our modern day productions.
Much like other trends, the castrati soon died out towards the end of the 18th century. Le Nozze Di Figaro is a clear example of the decay of the castrati. Suddenly the need for a castrati voice disappeared. As opera seria started to die out, so did the Castrati. Because there are no mythical or godlike characters in Le Nozze Di …show more content…
Since the castrati had such a distinct voice, it is difficult to say what voice type is needed for the role. Sesto’s character from La Clemenzo di Tito, sings two main arias, Parto,Parto and Deh, Per Questo Istante solo. Both of these arias are difficult to sing and require stamina and power that is not found in a countertenor or light soprano. In modern productions, these roles are typically sung by very strong and dramatic mezzo-sopranos such as Elīna Garanča. In the operas they are typically dressed like men and portray very masculine behavior to portray a castrati as closely as possible. Since a castrato voice was so different and hard to come by, it is still difficult to cast parts like Sesto for the correct voice type because the part requires not only range but also agility and power. Another work that is sung very frequently is Exsultate, Jubilate that is performed very frequently. It is a very difficult piece to sing because of its three very different movements. The first movement is very fast paced and requires a large vocal range. The second movement (Tu Virginum Corona) is slower and more refined, and requires a beautiful and well-rounded tone. The third movement (Alleluia) then goes back to coloratura that is even more complicated and agile than the first movement. The singer must have enough power for the first and third movement, and also sweetness for the second movement requiring a very well seasoned and talented singer to pull off all three movements. The influence of the castrati voice can be very clearly seen in this religious motet. Their talents
Much like other trends, the castrati soon died out towards the end of the 18th century. Le Nozze Di Figaro is a clear example of the decay of the castrati. Suddenly the need for a castrati voice disappeared. As opera seria started to die out, so did the Castrati. Because there are no mythical or godlike characters in Le Nozze Di …show more content…
Since the castrati had such a distinct voice, it is difficult to say what voice type is needed for the role. Sesto’s character from La Clemenzo di Tito, sings two main arias, Parto,Parto and Deh, Per Questo Istante solo. Both of these arias are difficult to sing and require stamina and power that is not found in a countertenor or light soprano. In modern productions, these roles are typically sung by very strong and dramatic mezzo-sopranos such as Elīna Garanča. In the operas they are typically dressed like men and portray very masculine behavior to portray a castrati as closely as possible. Since a castrato voice was so different and hard to come by, it is still difficult to cast parts like Sesto for the correct voice type because the part requires not only range but also agility and power. Another work that is sung very frequently is Exsultate, Jubilate that is performed very frequently. It is a very difficult piece to sing because of its three very different movements. The first movement is very fast paced and requires a large vocal range. The second movement (Tu Virginum Corona) is slower and more refined, and requires a beautiful and well-rounded tone. The third movement (Alleluia) then goes back to coloratura that is even more complicated and agile than the first movement. The singer must have enough power for the first and third movement, and also sweetness for the second movement requiring a very well seasoned and talented singer to pull off all three movements. The influence of the castrati voice can be very clearly seen in this religious motet. Their talents