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There were certainly castrati in the Sistine Chapel choir in 1558, although not described as such: on 27 April of that year, Hernando Bustamante, a Spaniard from Palencia, was admitted (the first castrati so termed who joined the Sistine choir were Pietro Paolo Folignato and Girolamo Rossini, admitted in 1599).
Surprisingly, considering the later French distaste for castrati they certainly existed in France at this time also, being known of in Paris, Orléans, Picardy and Normandy, though they were not abundant: the King of France himself had difficulty in obtaining them.
This demanding schedule meant that, if sufficiently talented, they were able to make a debut in their mid-teens with a perfect technique and a voice of a flexibility and power no woman or ordinary male singer could match.
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Prepubescent castration for this purpose diminished greatly in the late 18th century and was made illegal in Italy in 1870.
As the castrato's body grew, his lack of testosterone meant that his epiphyses (bone-joints) did not harden in the normal manner.
Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible, and quite different from the equivalent adult female voice.
Their vocal range was higher than that of the uncastrated adult male.
Thus the castrati came to supplant both boys (whose voices broke after only a few years) and falsettists (whose voices were weaker and less reliable) from the top line in such choirs. Although the castrato (or musico) predates opera, there is some evidence that castrati had parts in the earliest operas. The means by which future singers were prepared could lead to premature death.
Women were banned by the Pauline dictum mulieres in ecclesiis taceant ("let women keep silent in church"; see I Corinthians, ch. In the first performance of Monteverdi's Orfeo (1607), for example, they played subsidiary roles, including Speranza and (possibly) that of Euridice. To prevent the child from experiencing the intense pain of castration, many were inadvertently administered lethal doses of opium or some other narcotic, or were killed by overlong compression of the carotid artery in the neck (intended to render them unconscious during the castration procedure).
Castration before puberty (or in its early stages) prevents a boy's larynx from being transformed by the normal physiological events of puberty.
As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way.
It seems likely that the Spanish tradition of soprano falsettists may have hidden castrati.Tags: Adult Dating, affair dating, sex dating