This lesson plan focuses on the castrato singers of the Baroque Era, aiming to provide undergraduate students with a deeper understanding of their historical context, physiological changes, and societal perceptions. The class includes discussions, video resources, and assessments to engage students in the complexities surrounding the practice of castration for musical purposes. The lesson also explores the implications of gender and social theory related to castrati within the music industry of the time.
This lesson plan focuses on the castrato singers of the Baroque Era, aiming to provide undergraduate students with a deeper understanding of their historical context, physiological changes, and societal perceptions. The class includes discussions, video resources, and assessments to engage students in the complexities surrounding the practice of castration for musical purposes. The lesson also explores the implications of gender and social theory related to castrati within the music industry of the time.
This lesson plan focuses on the castrato singers of the Baroque Era, aiming to provide undergraduate students with a deeper understanding of their historical context, physiological changes, and societal perceptions. The class includes discussions, video resources, and assessments to engage students in the complexities surrounding the practice of castration for musical purposes. The lesson also explores the implications of gender and social theory related to castrati within the music industry of the time.
This lesson plan focuses on the castrato singers of the Baroque Era, aiming to provide undergraduate students with a deeper understanding of their historical context, physiological changes, and societal perceptions. The class includes discussions, video resources, and assessments to engage students in the complexities surrounding the practice of castration for musical purposes. The lesson also explores the implications of gender and social theory related to castrati within the music industry of the time.
Saturday Night Live’s “Castrati” : https://www.youtube.com/watch?v=VmI1MSmHFA0.
The skit is used as an attention grabber. Although, there are many false notions of the realities
of the castrato for comedic purposes. It is a fun way to engage students before the discussion of the
severe topics in relation to castrati.
b. Direct Instruction
2 Beginning of the Castrato:
Castrato, also known as musico, was a high pitched male singer that has been castrated before
the development of puberty. It was an illegal practice that has been documented as early as 1550 in
Ferrara and Rome1. If the procedure was performed, it could have led to excommunication,
imprisonment, or death for the crime. Most of the castrations performed were done in secret. The
code terms used to say that an individual had been castrated was followed by accidents of being bitten
by animals or falling off horses. There have been instances in which the procedure has failed leading to
puberty to still proceed. One account stated that a single testicles was removed to produce a castrati of
an alto vocal range2. The half castrated individual still went through the process of puberty. There has
not been a set structure of how procedures were performed. There was a high vitality rate correlating
to the castration and complications throughout the healing process. By the 1700’s, seventy percent of
the male opera singers were castrati3.
Castration was used for numerous reasons other than artistic musings. Captured soldiers from
war were castrated as a way to emasculate them from procreation. In Egypt, sexual offenses such as
adultery would lead to castration of the accused4. The Catholic church would perform castrations as
an act of celibacy. They believed that castrating oneself would lead to the inheritance of heaven.
Eunuchs became a staple of the early church.
1 2 Thomas A. King, “The Castrato’s Castration.” Studies in English Literature, 1500-1900 46, no. 3 (2006): 578 3 John Rosselli, “The Castrati as a Professional Group and a Social Phenomenon, 1550-1850.” Acta Musicologica 60, no. 2 (1988): 163. 4 John Rosselli, “The Castrati as a Professional Group and a Social Phenomenon, 1550-1850.” Acta Musicologica 60, no. 2 (1988): 168.
3 The practice of castration was performed by nobility for the sake of art and lower-middle class
families hoping to build financial stability. Not all males that were castrated were able to perform as a
musician. Based on musical aptitude, a less apt castrati would find work within the church as a priest
or other lines of work. Young males formed contracts with nobles and music educators for formal
education in music with the clause of being castrated for services of musical teaching5. Once the
contract was finalized, the pupil would begin their training at an early age before puberty. The student
would be taught in both instrumental and vocal music.
Why would the practice of castrati be performed:
During the sixteenth and seventeenth century Italy was under much economic pressure.
Trade routes began to shift toward Northern Europe. The demand for manufactured goods was
faltering. Most importantly, plagues were extremely common. Over the course of this era, two million
Italians died due to the severity of the widespread bubonic disease6. The Italian Plague, The Great
Plague of Milan, Kingdom of Naples and many more affected the size of the population.
Women during this time were not allowed to perform within the church. Falsettists were seen
as an early solution to represent higher register, but castrati were preferred. Castrati were viewed as
more “natural” and “pure “ in tone quality7. The demands of the coloratura and messa di voce lended
itself to the capabilities of well established castrati. Modern falsettist have
5 6 Guido Alfani, “Plague in Seventeenth-Century Europe and the Decline of Italy: An Epidemiological Hypothesis.” European Review of Economic History 17, no. 4 (2013): 426. 7 John Rosselli, "Castrato." Grove Music Online. 2001
4 Castrati performers had large breathing capacity for long phrases. The vocal range was
extended due to the lack of puberty. It has been noted that the famous Farinelli was able to control
over three octaves8. The vocal power and control of a professional castrati singer was unparalleled by
that of a falsettist.
Video Examples:
● "Alessandro Moreschi Sings Ave Maria." Javier Medina. September 26, 2011. Video, 0:03:15,
● "Philippe Jaroussky Records Gluck: Che Farò Senza Euridice (Orfeo Ed Euridice)." Warner
Classics. April 13, 2018. Video, 0:04:01, https://www.youtube.com/watch?v=Z8dIevs0VlU.
○ Modern day falsettist/countertenor
During the Biological Differentiation:
Castrati developed primary hypogonadism after the process of castration. Many of the set male
characteristics did not develop due to the lack of androgen production. Before the age of puberty,
vocal cords would be 12-15 millimeters in length. The average male after puberty would have 18-23
millimeters in length9. The vocal cords would grow much slower, thus allowing for the continuation
of the access of higher pitches.
8 Thomas A. King, “The Castrato’s Castration.” Studies in English Literature, 1500-1900 46, no. 3 (2006): 571 9Peschel, Enid Rhodes, and Richard E. Peschel. “Medical Insights into the Castrati in Opera.” American Scientist 75, no. 6 (1987): 578.
5 Castrati singers would be lacking in secondary characteristics post-puberty. Facial hair would
be non-existent. Subcutaneous fat deposits would form around the hips, waist, face, eyes, and breast.
Arms and legs would be longer than the rest of their bodies. Many of the physical secondary
characteristics were normally associated with females.
Given sexual impotence after castration, it would be a modern misconception to believe that
all castrati were either unable or were asexual. There have been some cases were castrati did not engage
in sexual relations. But, there is evidence supporting that castrati have had heterosexual and
homosexual relations. In 1762, an Italian nobel recalls a homosexual castrati performing as a female10.
The letter discloses the attraction in which they feel toward the castrated performer. Cardinal Antonio
Barberini and castrato Pasqualli were noted to have made relations though Pasqualli’s time of
servitude11.
Occupational work:
Musico singers predominantly worked in churches, opera houses, and under nobility.
Successful castrati were highly paid for their abilities to perform. Castrati has mainly been associated
with serious opera for the fortitude and range of voice. There have been castrati within comedic operas
of the time, but was mostly with a baritone singer as the primo uomo. If the performer’s voice was to
break or decided to pursue other endeavors, music teaching, writing, priesthood, and musicology were
some of the many opportunities available.
10 Elisabeth Krimmer, “‘Eviva Il Coltello’? The Castrato Singer in Eighteenth-Century German
Literature and Culture.” PMLA 120, no. 5 (2005): 151 11 John Rosselli, “The Castrati as a Professional Group and a Social Phenomenon, 1550-1850.” Acta Musicologica 60, no. 2 (1988): 153.
6 Gugliemo Gonzaga was a noble that worked tirelessly to hire a castrato performer of quality.
Through Gonzaga letters, modern audiences can get context of the types of occupations that were
available outside the context of Europe. There is a strong bias against Gonzaga's harsh critics and
willingness to pay his musicians for their services. Gonzaga’s standards of an “ideal” performer was
that one would be able to sing masterfully while playing their own accompaniment in virtuosic
fashion12.
Gender/Social Theory of Castrati:
Masculinity was believed to be shown in a music line through the usages of consonants. The
passage of coloratura within serious opera followed the “feminine” notations of bella voce. The view
of masculinity was a sign of lineage and procreation. The emotional connection of text and music was
closely tied to femininity. This emotional connection was once believed to suffice as treatment for the
affliction of melancholy. In 1737, Farinelli was hired by King Phillip V to perform in hopes of curing
his melancholy13.
Representations of castrati through art are reflected through androgyny. The Lute Player
displays Caravaggio, a castrati performer, through the lens of a young girl with musical talents14. The
12 Sherr Richard, “Gugliemo Gonzaga and the Castrati.” Renaissance Quarterly 33, no. 1 (1980): 43. 13 Peschel, Enid Rhodes, and Richard E. Peschel. “Medical Insights into the Castrati in Opera.” American Scientist 75, no. 6 (1987): 580. 14 Franca Trinchieri Camiz. “The Castrato Singer: From Informal to Formal Portraiture.” Artibus et Historiae 9, no. 18 (1988): 178.
7 mouth is left slightly open for the positioning of singing or conversating. The portrait upholds the
feminine ideals of the castratic voice, but also speaks to the wide success of the performers.
Castrati were seen to not have the ability of a “true” marriage. It was believed that the
castration led to a falsehood of manhood. The “lack of sexual prowess” poses thought to the ideas of
asexuality. Although the belief affects the body, the voice romanized the audiences. The femininity of
the voice was connected to that of the pederastic desire of the elite audience. Pederasty was known and
accepted practice of the time. Castrati were associated with the connection of il ragazzo. Il ragazzo is
the comparison of castrati to boys or young prostitutes15. The connection to emotion was seen as a
private matter.
c. Check for Understanding
a. What is the medical term for biological developments after castration?
i. Primary Hypogonadism
b. What are some of the reasons believed for the Italian rise of castrati?
i. Italy’s economic unrest from shifts in trade routes
ii. Multiple plagues during the 16th-17th century
iii. Decrease in manufacturing
iv. Ban of women performing within the church
c. True/False: All castrati became well paid musicians.
i. False
15 Elisabeth Krimmer, “‘Eviva Il Coltello’? The Castrato Singer in Eighteenth-Century German
Literature and Culture.” PMLA 120, no. 5 (2005): 151
8 d. True/False: Falsettist were preferred over castrati for their lighter and feminine
characteristic of tone and agility.
i. False
e. Some of the vocal characteristics of a castrati singer’s are:
i. Larger breathing capacity
ii. Wide vocal range
iii. Smaller vocal cords than post-puberty males
iv. Large power of voice
e. Closing
Class discussion: In the current age, how would a performer go about the repertoire once done by
castrati? Do we put an open casting of the voice type rather than modern falsettist? What would be
some current limitations?
Resources
a. Instructional Materials: White board, Computer, Projector
b. Resources: An annotated bibliography of resources has been provided below.
9 Assessment
The students will make a discussion post, post-class session, on two interesting things that
they have learned about the castrati singers of the Baroque Era. They will also be asked to comment on
three other students with further insights based on each other's findings. The post will act as another
step in retention of new material. In addition, building another connection with their fellow peers will
engage further deliberation to build connections of the vocal fach outside of the classroom.
The understanding check question could be used towards exam questions to continue long-
term retention of this topic.
Bibliography
"Alessandro Moreschi Sings Ave Maria." Javier Medina. September 26, 2011. Video, 0:03:15,
