Farinelli (2019)

To get the most visible issue out of the way, it simply won't do to object to the cover graphics featuring a bearded Cecilia Bartoli in repertory as suffused with transgender issues as the music of the 18th century castrato. Not only did the castrati sing in female voice ranges, they often sang in female voice ranges in male roles. Marvel, if marvel one must, at Bartoli's voice, still flexible and attractive in her mid-50s, and the voice is the key here. Farinelli (1705-1782), born Carlo Broschi, was one of the leading ... Read More

To get the most visible issue out of the way, it simply won't do to object to the cover graphics featuring a bearded Cecilia Bartoli in repertory as suffused with transgender issues as the music of the 18th century castrato. Not only did the castrati sing in female voice ranges, they often sang in female voice ranges in male roles. Marvel, if marvel one must, at Bartoli's voice, still flexible and attractive in her mid-50s, and the voice is the key here. Farinelli (1705-1782), born Carlo Broschi, was one of the leading castrati of the 18th century: singers castrated before puberty who grew up with uniquely powerful, affecting voices. It's uncertain exactly what they sounded like (only one castrato, Alessandro Moreschi, survived to record in great old age), but it's clear that neither a modern-day soprano or a countertenor quite duplicates the effect. Bartoli gives it an impressive try, though. Those enamored of her classic, creamy sound might be surprised by the paces she puts her voice through here,... Read Less