The Voice of the Gods. The Castrated Singers, and the Neapolitan Vocal School Podcast By cover art

The Voice of the Gods. The Castrated Singers, and the Neapolitan Vocal School

The Voice of the Gods. The Castrated Singers, and the Neapolitan Vocal School

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 The volume, authored by Enzo Amato, Mario Brancaccio, Sandro Cappelletto, Umberto Rosario Del Giudice, Aurelio Gatti, and Francesco Nocerino, delves into the complex and fascinating history of the Neapolitan Musical School, with a particular focus on the figure of castrato singers.The book explores the extraordinary vocal prowess of legendary singers like Farinelli (Carlo Broschi, 1705-1782), whose voice was so enchanting it was considered divine. It recounts the anecdote of a London lady who, after hearing Farinelli, exclaimed: "One God, one Farinelli," testament to his vocal perfection. The book's authors also discuss how the figure of castrato singers was sometimes satirized, as in Ugo Foscolo's "Carme I Sepolcri," which associated them with idleness. However, the volume emphasizes that this view was reductive for the Neapolitan context, where the practice was intrinsically linked to a highly prestigious musical school.The research delves into the lives of castrati, young Neapolitan singers castrated to preserve their voices, embedding them within the broader and rich context of the Neapolitan Musical School. The volume includes valuable appendices, such as a catalog of libraries preserving 18th-century Neapolitan musical manuscripts and an extensive bibliography.The book's primary objective is to shed light on the Neapolitan Musical School which, despite having included world-renowned composers like Francesco Provenzale, Alessandro Scarlatti, Domenico Cimarosa, Saverio Mercadante, and Vincenzo Bellini, and having dominated the European musical scene in the 18th century (especially in sacred music), has remained unfairly unknown to the general public.The discussion also extends to the precedents of the Neapolitan Musical School, tracing back to the Roman-Christian era, with references to the philosopher Giuseppe Ferraro and anecdotes related to Seneca and the philosopher Metronatte, who held lessons near the Neapolis theater.A crucial point is the role of the Neapolitan Conservatories, which originated as charitable institutions for impoverished children and later evolved into centers of excellence for musical education. The four main male conservatories and numerous female conservatories are mentioned, with a tribute to key figures like Marcello Fossataro, founder of the Conservatorio dei Poveri di Gesù Cristo.The volume elaborates on the vocal characteristics of castrati, whose voices were admired for their sweetness, strength, and range, and illustrates how the Neapolitan Musical School excelled in all genres, from performances in royal palaces to court theaters.Finally, the book recounts the story of a relic of Saint Joseph, a cedar wood staff, which became the property of the castrato singer Giuseppe Grimaldi ("Nicolino"), and which gave rise to the famous Neapolitan saying "Non sfruculiare la mazzarella di san Giuseppe" (Don't mess with Saint Joseph's staff). The volume concludes with the historical-theological reflections of Umberto Rosario Del Giudice, who analyzes the motivations behind castration and the presence of castrato singers in Catholic liturgy, drawing a parallel with the current exclusion of women from ministerial roles at the altar.
Pasquale Giustiniani for Books&Museum summer edition 2025
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