The castrati conquered the opera world at the end of the 17th century. Their reign lasted until the beginning of the 19th century, after which they gradually disappeared from the opera. The Belcanto Festival in Dordrecht, held at the beginning of September, tries to revive the era of the castrati (also called the Belcanto era). It is a festival for singing lovers: the exciting things happen in the
… field of singing. One of the great highlights in the short history of the festival is the arrival of the countertenor Angelo Manzotti. On September 10, 1996 he gave a recital in the Augustijnenkerk of Dordrecht with Ton Kos as conductor of the Belcanto Festival Chamber Orchestra. The repertoire included a number of Handel arias and the aria 'Son qual nave' by Broschi / Hasse, an aria often sung by the famous castrato Farinelli. According to the principles of castrati singing, Manzotti shows great virtuosity and a number of beautiful pianissimi. A few dark, masculine tones amaze the listener and probably bring about the same kind of sexual confusion that the astonished castrati listener must have experienced in the 18th century. During the performance, Manzotti explores the limits of his possibilities, which on the one hand creates a number of enormous outliers (let's say blunders), but on the other hand results in different magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ According to the principles of castrati singing, Manzotti shows great virtuosity and a number of beautiful pianissimi. A few dark, masculine tones amaze the listener and probably bring about the same kind of sexual confusion that the astonished castrati listener must have experienced in the 18th century. During the performance, Manzotti explores the limits of his possibilities, which on the one hand creates a number of enormous outliers (let's say blunders), but on the other hand results in different magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ According to the principles of castrati singing, Manzotti shows great virtuosity and a number of beautiful pianissimi. A few dark, masculine tones amaze the listener and probably bring about the same kind of sexual confusion that the astonished castrati listener must have experienced in the 18th century. During the performance, Manzotti explores the limits of his possibilities, which on the one hand creates a number of enormous outliers (let's say blunders), but on the other hand results in different magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ masculine tones astonish the listener and probably bring about the same kind of sexual confusion that the astonished castrati must have undergone in the 18th century. During the performance, Manzotti explores the limits of his possibilities, which on the one hand creates a number of enormous outliers (let's say blunders), but on the other hand results in different magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ masculine tones astonish the listener and probably bring about the same kind of sexual confusion that the astonished castrati must have undergone in the 18th century. During the performance, Manzotti explores the limits of his possibilities, which on the one hand causes a number of enormous outliers (let's say blunders), but on the other hand produces different magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ but which on the other hand produces several magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _ but which on the other hand produces several magical moments. Perhaps it is precisely the enormous risk that Manzotti takes that keeps the audience listening tense. (CP) _more
