Castrati in the New World

[JesusA (imported)]

In 1807, as the armies of Napoleon were approaching Lisbon, João VI of Portugal moved the capital of the Portuguese Empire to Rio de Janeiro, where it remained until 1821.

Shortly after the move, João established the Royal Chapel, which was to be maintained at public expense for its musicians and singers. At least nine castrati were among the civil servant singers. Among them were the brothers Marcello Tani (soprano) and Pasquale Tani (contralto) who remained in Brazil after the court returned to Lisbon, although their death dates are unrecorded. Domenico Luigi Lauretti (soprano) died in Rio in 1857 and Francesco Realli (soprano) died in Rio sometime in the 1870s. Others among the castrati returned to Lisbon with the court.

There are mentions of at least three additional castrati in Rio, although they were not singers at the Royal Chapel. Giuseppe de Foiano Toti was a composer and singing teacher; Tomassini and Bartolozzi performed only in public theatres.

__________

Pacheco, Alberto J.V. (2009). A prática vocal carioca durante o periodo joanino. Revista do Conservatória de Música, no. 2, pp. 47-64.

[Valery_V (imported)]

Pacheco, Alberto J.V. (2009). A prática vocal carioca durante o periodo joanino. Revista do Conservatória de Música, no. 2, pp. 47-64.

"A prática vocal carioca durante o per

íodo joanino"

(Carioca vocal practice during the Johannine period)

Alberto José Vieira Pacheco

https://periodicos.ufpel.edu.br/ojs2/in ... /view/2448

Summary:

"On March 8, 1808, the Portuguese court established itself in its American domains, taking refuge from the Napoleonic army that at that time was advancing on Portugal. Thus, the then capital of the Vice-Kingdom of Brazil, was suddenly elevated to the seat of the Portuguese empire. This was the beginning of a series of political and social changes that led to Brazil's independence in 1822, about a year after the Portuguese court's return to Europe. In the midst of so many events, the musical environment in Rio de Janeiro was profoundly transformed. What we intend in this text is to describe how the presence of the Portuguese court influenced vocal practice in Rio de Janeiro. To do so, we will identify changes in the musical environment in Rio, whether in churches, theaters or salons."