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  • noun

Words related to castrato

a male singer who was castrated before puberty and retains a soprano or alto voice

References in periodicals archive ?
As the drunken, bewigged English composer Charles, he begs Spanish diva Elvira, (Diehl-Reader) to perform his latest magnum opus in which she will be wooed away from her life of luxury by Gotziaman's street urchin, Veneto--a troubled castrato who croons, "I was a boy, but no more." The through-composed work finally erupts in Veneto's gender-bending existential crisis, ending 'tragically' as Duncanson suddenly convulses onstage, dying the epic death that is his own just due.
The Castrato is an historical fiction novel that follows a story line which has little representation in young adult literature.
The Castrato is an enjoyable portrait of post-Renaissance Italy told from a fresh and original point of view.
Recent comprehensive studies on the figure of the castrato have given much-needed attention to individual castrati, following in the recent musicological trend of singer-oriented versus work-oriented approaches.
However, even the great castrato was unable to save the original production, which charts warrior Orlando's descent into madness following his rejection by the noble Princess Angelica, from bombing at the box office.
According to a press release from Harvest Tide Productions, "Spinning off from the story of the last famous castrato Alessandro Moreschi, who recorded (`Ave Maria') in 1902, Shea takes horror fans into the haunted woods of New England to witness the twisted reenactment of an old Catholic tradition."
A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto.
Lack of testosterone meant that a castrato's bones grew unusually long and gave him a huge, bellows-like chest behind his tiny vocal chords.
Earlier, there had been similar control, of a more pious nature, in Mozart's Exultate Jubilate, originally written, in less ethical times, for a strong and powerful male castrato.
(xvvii) The opening chapter, "Castrato Cries and Wicked Voices," is a good example of the range of ideas pursued by Pulham while examining individual tales.
The author notes that in Claudio Montiverdi's L'incoronzaione di Poppea (1643) "the two leading castrato roles, Nero and Otho, represent the two men who have lost their rational, masculine self-control and are under the powerfully feminizing influence--that is, are in love with--Poppea, who in this context represents all that is most dangerous in women" (142-143).
The prose is simple and straightforward, relayed through the voice of Nico, a teenage castrato with a voice to charm the masses and a wit to help him and his companion, Gianni, to get by in a difficult world.
Having unseated Geoff Barfoot-Saunt at the Torrington Farmers meeting at Umberleigh in Devon: "The rider got kicked in the vicinity of all he holds dear, and was soon spotted with his breeches round his ankles making sure that everything was in situ - we believe he is not able to sing castrato however."