LEADER 03488nam 2200673 450 001 9910459822603321 005 20210429214801.0 010 $a0-520-29244-8 010 $a0-520-96203-6 024 7 $a10.1525/9780520962033 035 $a(CKB)3710000000331749 035 $a(EBL)1882079 035 $a(SSID)ssj0001401570 035 $a(PQKBManifestationID)11898128 035 $a(PQKBTitleCode)TC0001401570 035 $a(PQKBWorkID)11349789 035 $a(PQKB)10638399 035 $a(StDuBDS)EDZ0001193048 035 $a(MiAaPQ)EBC1882079 035 $a(OCoLC)908342024 035 $a(MdBmJHUP)muse47154 035 $a(DE-B1597)520988 035 $a(OCoLC)900081340 035 $a(DE-B1597)9780520962033 035 $a(Au-PeEL)EBL1882079 035 $a(CaPaEBR)ebr11003329 035 $a(CaONFJC)MIL719716 035 $a(OCoLC)900343818 035 $a(EXLCZ)993710000000331749 100 $a20150120h20152015 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt 182 $cc 183 $acr 200 14$aThe castrato $ereflections on natures and kinds /$fMartha Feldman 210 1$aOakland, California :$cUniversity of California Press,$d2015. 210 4$d©2015 215 $a1 online resource (496 p.) 225 1 $aErnest Bloch Lectures 300 $aDescription based upon print version of record. 311 0 $a1-322-88434-X 311 0 $a0-520-27949-2 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tNote on Textual Transcription, Translations, Lexicon, and Musical Nomenclature --$t1. Of Strange Births and Comic Kin --$t2 The Man Who Pretended to Be Who He Was --$t3. Red Hot Voice --$t4 Castrato De Luxe --$t5. Cold Man, Money Man, Big Man Too --$t6. Shadow Voices, Castrato and Non --$tAcknowledgments --$tAbbreviations --$tNotes --$tBibliography --$tIllustrations --$tIndex 330 $aThe Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato's comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy-involving teachers, patrons, colleagues, and relatives-whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers-from Cavalli and Pergolesi to Handel, Mozart, and Rossini-were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. 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