Handel’s Castrati: The Rockstars of the Baroque Stage

by Austin Richey, Ph.D.
Digital Media Manager & Storyteller for Detroit Opera

 

 

In the 18th century, long before pop stars filled concert halls with screaming fans, another type of musical idol commanded the spotlight: the castrato. These extraordinary singers, preserved in childhood soprano ranges through the brutal practice of castration, possessed voices of unparalleled power, agility, and range. At the height of their fame, they were celebrated, adored, and obscenely wealthy, commanding fees that eclipsed even those of composers like Handel himself.

 

 

Among the elite of this operatic aristocracy was Nicolò Grimaldi, better known as Nicolini, who starred in Handel’s 1711 opera Rinaldo and helped catapult the young composer to stardom in London. Castrati like Nicolini weren’t just performers; they were fashion icons, sex symbols, and objects of both fascination and scandal. Their otherworldly voices, combined with elaborate personas, made them the true rockstars of the Baroque world.

 

The Making of a Superstar

The career of a castrato began with an irreversible decision. Boys with promising voices were selected —often from impoverished backgrounds— and subjected to castration before puberty to prevent their voices from deepening. If they survived the procedure, they faced years of grueling training, often at elite conservatories in Naples, Venice, or Rome, where they honed the staggering breath control and vocal dexterity that defined their art.

 

 

 

 

For the lucky few who made it to the top, the rewards were immense. Farinelli, Senesino, and Caffarelli —the leading castrati of the early 18th century— enjoyed the kind of stardom modern celebrities would envy. They were draped in silks, jewels, and custom-made fashions, their performances sparking frenzied devotion. Aristocrats showered them with gifts, noblewomen (and some noblemen) pursued them romantically, and composers wrote dazzling arias tailored to their voices.

 

Castrati Take London: Nicolini and Handel’s Rise

By the time Nicolò Grimaldi (Nicolini) arrived in London to star in Handel’s Rinaldo, castrati were already the toast of European opera houses. London’s aristocracy, desperate to prove itself as culturally sophisticated as Paris or Rome, embraced Italian opera with fervor—and that meant embracing castrati.

 

Nicolini’s debut in Rinaldo was a sensation. His voice, described as both powerful and piercingly sweet, had the agility to execute Handel’s demanding vocal runs with breathtaking precision. But it wasn’t just about the voice — his stage presence was electric. He commanded the role of Rinaldo with a swagger that drove audiences wild. Reports from the time describe women in the audience fainting at the beauty of his voice, and admirers sending him expensive gifts and love letters.

 

 

But Nicolini was only the beginning. Senesino, one of Handel’s favorite singers, would later become a fixture in his operatic company, starring in masterpieces like Giulio Cesare and Rodelinda. When Senesino arrived in London in the 1720s, the city erupted in excitement. Fans wore medallions with his likeness, followed him in the streets, and flocked to the opera house to witness his every performance.

 

Fashion, Fame, and Scandal

 

Castrati cultivated lavish, often androgynous personas, further fueling the public’s obsession. They wore powdered wigs, extravagant lace, and embroidered coats, embracing a level of opulence that rivaled royalty. Their fame was not just vocal but visual, and artists frequently painted their portraits, capturing them in regal, almost divine poses.

 

 

But their stardom also made them figures of controversy. English satirists, skeptical of Italian opera’s growing influence, mocked the castrati relentlessly. Writers like Joseph Addison and Alexander Pope ridiculed their high voices and flamboyant presence, portraying them as symbols of foreign excess and moral decadence. Yet, for every critic, there were legions of devoted fans willing to pay fortunes for a single ticket.

 

The Decline of the Castrati

Despite their dominance in the early 18th century, the reign of the castrati would not last forever. By the late 1700s, shifting tastes in opera — toward more naturalistic voices and emotional realism — led to their decline. The last truly great castrato, Farinelli, retired from public performance in the 1750s, and by the early 19th century, the practice of castration for musical purposes had effectively ended.

Yet their legacy remains. Handel’s operas, written with the fireworks and athleticism of castrati voices in mind, continue to be performed today — albeit now with countertenors or mezzo-sopranos taking on their roles. The fascination endures, as does the question: what must it have been like to hear those voices in their full, unearthly glory?

 

The Ultimate Operatic Icons

In their heyday, castrati were larger than life — idols, virtuosos, and walking contradictions. They were adored yet ridiculed, celebrated yet scandalous, their artistry transcending the unusual circumstances that created them. Nicolini, Senesino, and Farinelli weren’t just singers; they were phenomena. If Handel was the architect of Baroque opera, the castrati were its supernovas — blazing brilliantly, audaciously, and, for a time, unstoppably.

 

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Handel’s Rinaldo is at Detroit Opera February 22 – March 22, 2025
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