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The CastratoReflections on Natures and Kinds$
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Martha Feldman

Print publication date: 2015

Print ISBN-13: 9780520279490

Published to California Scholarship Online: September 2015

DOI: 10.1525/california/9780520279490.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 02 June 2020

Cold Man, Money Man, Big Man Too

Cold Man, Money Man, Big Man Too

Chapter:
(p.176) (p.177) 5 Cold Man, Money Man, Big Man Too
Source:
The Castrato
Author(s):

Martha Feldman

Publisher:
University of California Press
DOI:10.1525/california/9780520279490.003.0005

As the eighteenth century wore on and absolutism crumbled, the bourgeois was consolidating its fear of the castrato, whom it denatured in sharpened critiques. Castrati were ever more incomprehensible, indeed anathema to Europe’s new self-conception. The singing of castrati adapted via two modes: an Orphic and sensible voice, epitomized by Gluck’s Orpheus (as cultivated by Guadagni, Millico, and Pacchierotti) and defined by Susan Burney’s journals in England, and a virtuosic one as perfected by Marchesi.

Keywords:   Enlightenment, morality, Gluck, Guadagni, Millico, Pacchierotti, Susan Burney, Marchesi

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