Castrati vs Castrato One GOD, one FARINELLI ! скачать в хорошем качестве

Castrati vs Castrato One GOD, one FARINELLI !

It was a HYBRID , better voice than any other, men woman or child... Farinelli sing whit Chest register almost the entire tessitura...He go whit Middle register to F#5 aproximately and then he change to Head Voice...This means Castrati sound like a FEMALE BELTER NOWDAYS...something like Celine Dion in All by myself but whit more power armonic, VOLUME Stamina and the COLOR of a (BOY-MEN) a HYBRID voice ...and what people dont know is the HEAD VOICE of the Castrati was like a Chest Voice of a MEN...Because his nature was PROYECT the SOUND in HEAD VOICE... Farinelli tenía una voz de soprano penetrante, completa, rica, luminosa y bien modulada, con un rango en ese momento desde La2 hasta RE6. It became not merely a preference for higher voices, but wholly for castrati in general. Female sopranos were forced to take secondary roles along with the tenors and basses. Gender was completely dismissed in these operas, with female contraltos generally playing men, often opposite a castrato who was playing a female role (Street 1987). The prevention of this natural physical process leaves the castrato's speaking voice pitched like a female's. Tandler and Gross of Italy had the unique opportunity in 1909 to examine for themselves a 28-year-old castrato through autopsy. Their discoveries revealed that, besides the fact that the larynx was extremely small and the thyroid notch hardly even visible, the man had vocal chords approximately the size of a coloratura soprano! They were a mere 14 mm in length (Brodnitz 1974).