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Alessandro Moreschi (1 November 1858 – 21 April 1922) was an Italian chorister of the late 19th century and the only castrato to make solo recordings.
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Alessandro Moreschi (1 November 1858 – 21 April 1922) was an Italian chorister of the late 19th century and the only castrato to make solo recordings.
Alessandro Moreschi a adăugat o fotografie
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Early life Alessandro Moreschi was born on 1 November 1858 to Luigi Lorenzo Moreschi (1840–1897) and Rosa Maria Potelli, a Roman Catholic family in the town of Monte Compatri in the Papal States, near Frascati (Lazio). It is possible that he was born with an inguinal hernia, for which castration was still thought to be a cure in 19th-century Italy. Another possibility is that he was castrated later, around 1865, which would have been more in line with the centuries-old practice of castrating vocally talented boys well before puberty. In any case, much later in life, he referred to his enjoyment of singing as a boy in the chapel of the Madonna del Castagno, just outside his native town.
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Moreschi's Director at the Sistine was Domenico Mustafà, himself once a castrato soprano, who realised that Moreschi was, amongst other things, the only hope for the continuation of the Sistine tradition of performing the famous setting of the Miserere by Gregorio Allegri during Holy Week. When Moreschi joined the Sistine choir, there were still six other castrato members, but none of them were capable of sustaining this work's taxing soprano tessitura. Moreschi's talent occasionally led to "behaviour [that] was often capricious enough to make him forget a proper professional bearing, as on the occasion after a concert when he paraded himself among the crowd like a peacock, with a long, white scarf, to be congratulated ..." The Sistine Chapel Choir was run on centuries old traditional lines with a strict system of hierarchies. In 1886, the senior castrato, Giovanni Cesari, retired, and it was probably then that Moreschi took over as Direttore dei concertisti (Director of soloists). In 1891 Moreschi took his turn as segretario puntatore, being responsible for the day-book of the choir's activities, and the following year was appointed maestro pro tempore, a largely administrative post concerned with calling choir meetings, fixing rehearsals, granting leave of absence and…
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All of Moreschi's recordings were made in Rome in two sets of recording sessions for the Gramophone & Typewriter Company. The first series of recordings was made on 3 and 5 April 1902 by Will and Fred Gaisberg. Eighteen usable sides by the members of the Sistine Chapel Choir were captured on wax, four of them solos by Moreschi. Decades later, Fred Gaisberg recalled making these historic first recordings in the Vatican: "Selecting a great salon with walls covered with Titians, Raphaels, and Tintorettos, we mounted our grimy machine right in the middle of the floor." The second set of recordings was made in Rome in April 1904, under the direction of W. Sinkler Darby. CDs on the Opal and Pearl labels reproduce the recordings.
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Retirement and death In retirement, Moreschi lived in an apartment at 19 Via Plinio near the Vatican, where he died at the age of 63, possibly of pneumonia. His funeral Mass was a large and public affair in the church of San Lorenzo in Damaso, and was conducted by Perosi, who, in spite of his antipathy towards castrati, felt a "great friendship which bound them together". Moreschi was buried in the family vault in the Cimitero del Verano, the "city of the dead" not far from Rome's Tiburtina station. His colleague Domenico Salvatori lies in the same tomb.
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In popular culture British author Kingsley Amis listened to a Moreschi recording in 1973, and used his thoughts on it as the basis for the novel The Alteration (1976). The novel is set in an alternate world where the Papal choir is still recruiting castrati in the 1970s, and is told from the viewpoint of a boy considering this offer. YouTube analog horror web series The Mandela Catalogue made by Alex Kister uses Moreschi’s version of Ave Maria in the third part of the series, titled ‘intruder alert’. Moreschi’s version appears multiple times in the web series, and is a big part of the storyline. It is heard playing from a television showing a monotone image of a man’s face, which results in the suicide of a woman and the kidnapping of a child in an infomercial type video in the web series, and is heard from various televisions throughout the series.
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It seems likely that Moreschi's singing abilities came to the notice of Nazareno Rosati, formerly a member of the Sistine Chapel Choir, who was acting as a scout for new talent, and took him to Rome around 1870. Moreschi became a pupil at the Scuola di San Salvatore in Lauro, where he was taught by Gaetano Capocci, maestro di cappella of the Papal basilica of St John Lateran. In 1873, aged only fifteen, he was appointed First Soprano in the choir of that basilica, and also became a regular member of the groups of soloists hired by Capocci to sing in the salons of Roman high society. His singing at such soirées was vividly described by Anna Lillie de Hegermann-Lindencrone, the American wife of the Danish Ambassador to the Holy See:
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Mrs Charles Bristed of New York, a recent convert to the Church of Rome, receives on Saturday evening ... The Pope's singers are the great attraction ... for her salon is the only place outside of the churches where one can hear them. The famous Moresca [sic], who sings at the Laterano, is a full-faced soprano of some forty winters. He has a tear in each note and a sigh in each breath. He sang the jewel song in [Gounod's] Faust, which seemed horribly out of place. Especially when he asks (in the hand-glass) if he is really Marguerita, one feels tempted to answer 'Macchè' [not in the least] for him. In 1883, Capocci presented a special showcase for his protégé: the first performance in Italy of the oratorio Christus am Ölberge by Beethoven, in which Moreschi sang the demanding coloratura role of the Seraph. On the strength of this performance, he became known as l'Angelo di Roma, and shortly after, having been auditioned by all the members of the Sistine Chapel Choir, he was appointed First Soprano there, a post he held for the next thirty years.
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Appearance and personality According to Haböck, "Moreschi's external appearance differs little from that usual for a singer. He is of medium or rather small stature. His likeable face is completely beardless; his chest remarkably broad and powerful. His speaking voice has a metallic quality, like a very high-speaking tenor. His voice and demeanour make a youthful impression, reinforced by his lively conversation, which add to the altogether charming picture that the singer presents."
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Critical opinion Critical opinion is divided about Moreschi's recordings, some say they are of little interest other than the novelty of preserving the voice of a castrato, and that Moreschi was a mediocre singer, while others detect the remains of a talented singer unfortunately past his prime by the time of recording, as Moreschi was in his mid-forties. Still, others feel that he was a very fine singer, and that much of the "difficulty" in listening to Moreschi's recordings stems from changes in taste and singing style between times. His vocal technique can certainly seem to grate upon modern ears, but many of the seemingly imperfect vocal attacks, for example, are in fact grace notes, launched from as much as a tenth below the note – in Moreschi's case, this seems to have been a long-standing means of drawing on the particular acoustics of the Sistine Chapel itself. The dated aesthetic of Moreschi's singing, involving extreme passion and a perpetual type of sob, often sounds bizarre to the modern listener, and can be misinterpreted as technical weakness or symptomatic of an aging voice. The standard of his recordings is certainly variable; Moreschi recorded two versions of Rossini's "Crucifixus". In the…