I have doubts about how accurate the ‘synthesised’ voice is to the real castrato voice, but from what I’ve been able to read and view, it gives a hint. The theorbo player said “spooky” and thats’s a start, I think the real “superstar” castrati such as Farinelli and Senesino had ‘other worldly’ voices. The combination of the boy’s larynx, with the sheer lung power behind it must have modified it to be a unique sound not just a ‘loud boy’ but adding resonances and harmonics on top along with huge carry and penetration.
I'm sorry but this simply isn't a realistic experiment. Whereas female soprani duet with a flute, the castrati duetted with a trumpet. They had incredible lung capacity funnelling though a larynx that was small (undeveloped by hormonal activity). Their training enhanced the maximum use of breath. They also were able to trill from a semitone up to at least a third. We have some scores Farinelli used where the breaths are marked. No one can sing that way now. It's not just the physical aspects, it's the 8-10 years of training that went with it.
главное это тембр детского голоса...но у кастрата это очень мощный детский голос.Он мощнее чем у оперного певца мужчины в несколько раз.... плюс вокальная техника. где каждая нота обьемна и регистры ровные. . в эксперименте. воссоздали детский тембр. голоса кастрата. и это очень важно. Но вокальную технику. и мощь КАСТРАТА ПОКА ВОССОЗДАТЬ НЕ УДАЛОСЬ. но со временем. можно будет наложить обычную оперную вокальную технику на детский голос и добавить мощи. на всех регистрах. После перезаписать оперы. с искусственным голосом идентичным голосу кастрата..
Actually not bad considering the quality of the voices they chose to combine, the tenor definitely had trouble going really high and the boy's voice not very strong. The comment about breathing is completely irrelevant since that's because it's electronic and not a person :D
While I don't find this voice convincing, I think they were on the right track by using male modal voices (rather than a countertenor and a woman as in 'Farinelli'). I agree completely with you regarding the two particular singers used. Nicholas Clapton told me that he would have preferred to use a continental treble rather than an Anglican cathedral chorister but his budget would not stretch to it. Darren Abrahams is a very good lyric tenor, but I would have gone for a specialist high tenor or 'haute-contre', again preferably continental. Imagine if they had done this experiment with the 13 year-old Aksel Rykkvin as the treble and Juan-Diego Florez as the tenor!
@fabiennefertiti there us a recording in Versailles of two counter tenors and a male soprano. It's called something like ' concert des castrat ' . You can hear for yourself.
A countertenor uses falsetto (using a small portion of their vocal chords to sing higher) male sopranos (also known as sopranists) voice naturally sit in a soprano range usually due to an endocrine related condition)
Well, that sounds quite similar to Moreschi's voice, maybe it is not beautiful if we hear with our modern taste, but it is interesting that it sounds like a boy, maybe that was the real timbre of castratos and it was considered beautiful in the past. I'm sure they didn't sound like women, not even as countertenors and modern male sopranos cannot emulate the castrato voice because they have small bodies.
@@carlosorozco4643 Moreschi did never receive a proper voice education in comparison to the opera castrati. However, even in the golden age of castrati singer there were singers who sang badly. Read Tosi and Mancini. They tell about the "bad taste" of many singers.
I have doubts about how accurate the ‘synthesised’ voice is to the real castrato voice, but from what I’ve been able to read and view, it gives a hint. The theorbo player said “spooky” and thats’s a start, I think the real “superstar” castrati such as Farinelli and Senesino had ‘other worldly’ voices. The combination of the boy’s larynx, with the sheer lung power behind it must have modified it to be a unique sound not just a ‘loud boy’ but adding resonances and harmonics on top along with huge carry and penetration.
I'm sorry but this simply isn't a realistic experiment. Whereas female soprani duet with a flute, the castrati duetted with a trumpet. They had incredible lung capacity funnelling though a larynx that was small (undeveloped by hormonal activity). Their training enhanced the maximum use of breath. They also were able to trill from a semitone up to at least a third. We have some scores Farinelli used where the breaths are marked. No one can sing that way now. It's not just the physical aspects, it's the 8-10 years of training that went with it.
whatever, voice is so beautiful
All the experts in the comments amaze me
Super,va felicitam......
An insult to Carlo’s memory 😡
Just a scientific experiment as many others...this one's an exception, was made with passion to the Music! :)
главное это тембр детского голоса...но у кастрата это очень мощный детский голос.Он мощнее чем у оперного певца мужчины в несколько раз.... плюс вокальная техника. где каждая нота обьемна и регистры ровные. . в эксперименте. воссоздали детский тембр. голоса кастрата. и это очень важно. Но вокальную технику. и мощь КАСТРАТА ПОКА ВОССОЗДАТЬ НЕ УДАЛОСЬ. но со временем. можно будет наложить обычную оперную вокальную технику на детский голос и добавить мощи. на всех регистрах. После перезаписать оперы. с искусственным голосом идентичным голосу кастрата..
Quoi?!
Actually not bad considering the quality of the voices they chose to combine, the tenor definitely had trouble going really high and the boy's voice not very strong. The comment about breathing is completely irrelevant since that's because it's electronic and not a person :D
Indeed! Thanks
While I don't find this voice convincing, I think they were on the right track by using male modal voices (rather than a countertenor and a woman as in 'Farinelli').
I agree completely with you regarding the two particular singers used. Nicholas Clapton told me that he would have preferred to use a continental treble rather than an Anglican cathedral chorister but his budget would not stretch to it. Darren Abrahams is a very good lyric tenor, but I would have gone for a specialist high tenor or 'haute-contre', again preferably continental. Imagine if they had done this experiment with the 13 year-old Aksel Rykkvin as the treble and Juan-Diego Florez as the tenor!
What is the difference between a Countertenor and a Male Soprano?
@fabiennefertiti there us a recording in Versailles of two counter tenors and a male soprano. It's called something like ' concert des castrat ' . You can hear for yourself.
A countertenor uses falsetto (using a small portion of their vocal chords to sing higher) male sopranos (also known as sopranists) voice naturally sit in a soprano range usually due to an endocrine related condition)
What an awful sound! I don't think Farinelli or any other castrato sounded this way, not even close to it.
I don't think so too :(
yes, this may be the sound of castratos who were not so good in singing
Well, that sounds quite similar to Moreschi's voice, maybe it is not beautiful if we hear with our modern taste, but it is interesting that it sounds like a boy, maybe that was the real timbre of castratos and it was considered beautiful in the past. I'm sure they didn't sound like women, not even as countertenors and modern male sopranos cannot emulate the castrato voice because they have small bodies.
@@carlosorozco4643 Moreschi did never receive a proper voice education in comparison to the opera castrati. However, even in the golden age of castrati singer there were singers who sang badly. Read Tosi and Mancini. They tell about the "bad taste" of many singers.
Yawn. None of these voices approximate the castrati voice types . These are nothing more than falsettists.
che stronzata