In Baroque Europe, castrati held an extraordinary position: they were the first “stars” in the history of music.
Almost all Italian and trained in the conservatories of Naples, they devoted themselves to opera careers or to serving the most prestigious princely chapels, going as far as the Vatican and the Royal Chapel of Versailles, and often combining both jobs.
In numerous operatic productions and sacred oratorios, from Vienna to London, castrati systematically played the title role (in Rome, all female roles) and several other important roles, creating fierce competition on stage. This led to an escalation of virtuosity and emotion between the singers, with the audience acting as arbiters, both through their requests for encores and the lavish gifts offered to the most adored performers. The opera was also regularly supplemented with “suitcase” arias that the most sought-after castrati brought with them to shine.
With a trio as extraordinary as that formed by Nicolò Balducci, Paul-Antoine Bénos-Djian, and Rémy Brès-Feuillet, the audience is treated to a high-level competition: baroque at its finest, the rivalry between these primi uomi was the attraction of Italian operas, whose most thrilling vocal dynamics are revived here by the voices of three countertenors, for an evening celebrating the glory of the castrati.
Les Productions de l'Opéra Royal.
In numerous operatic productions and sacred oratorios, from Vienna to London, castrati systematically played the title role (in Rome, all female roles) and several other important roles, creating fierce competition on stage. This led to an escalation of virtuosity and emotion between the singers, with the audience acting as arbiters, both through their requests for encores and the lavish gifts offered to the most adored performers. The opera was also regularly supplemented with “suitcase” arias that the most sought-after castrati brought with them to shine.
With a trio as extraordinary as that formed by Nicolò Balducci, Paul-Antoine Bénos-Djian, and Rémy Brès-Feuillet, the audience is treated to a high-level competition: baroque at its finest, the rivalry between these primi uomi was the attraction of Italian operas, whose most thrilling vocal dynamics are revived here by the voices of three countertenors, for an evening celebrating the glory of the castrati.
Les Productions de l'Opéra Royal.
