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As a The Castrato and His Wife organization, we, like many others, recognize the significant threat posed by the coronavirus. During this time, we have made some of our learning resources freely The Castrato and His Wife. Our distribution centers are open and orders can be placed online. Do be advised that shipments may be delayed due to extra safety precautions implemented at our centers and delays with local shipping carriers. The opera singer Giusto Ferdinando Tenducci was one of the most famous celebrities of the eighteenth century. Mozart and Bach both composed for him. He was nothing less than a rock star of his day, with a massive female following. He was also a castrato. Ranging from the salons of princes and the grand opera houses of Europe to the remote hill towns of Tuscany, Helen Berry's compelling account of the unconventional love story of the castrato and his wife offers fascinating insight into the world of opera and the history of sex and marriage in Georgian Britain. Berry vividly describes how women flocked to Tenducci's concerts and found him irresistible. Indeed, his young singing pupil, Dorothea Maunsell, found him so irresistible that she eloped with him. A huge scandal erupted and her father persecuted them mercilessly. Dorothea joined her husband at his concerts, achieving a status she could never have dreamed of as a respectable girl. She also wrote a sensational account of their love affair, an early example of a teenage novel. Embroiled in debt, the Tenduccis fled to Italy, and the marriage collapsed The Castrato and His Wife she fell in love with another man. There followed a highly publicized and unique marriage annulment case in the London courts. Everything hinged on the status of the marriage, whether the husband was capable of consummation, and what exactly had happened to him as a small boy in a remote Italian hill village decades before. Telling the remarkable story of Tenducci for the first time, The Castrato and His Wife is both an exhilarating read and a perceptive commentary on the meaning of marriage, one The Castrato and His Wife still resonates today. Prelude 1. Schooling Angels in Naples 3. The Castrato in London 4. Fancying Tenducci 5. A Dublin Scuffle 6. The Elopement 7. Married Life 8. The Trial 9. She is the author of numerous articles on the history of eighteenth-century Britain, and is the co-editor with Elizabeth Foyster of The Family in Early Modern England This is her second book. Recommended for readers who enjoy opera, classical music in general, and European history. Utterly enthralling. By Helen Berry The purpose of British royalty is for people to look at them. Successful monarchs throughout history have understood this basic necessity and exploited it. Elizabeth I failed to marry, and thus denied The Castrato and His Wife subjects the greatest of all opportunities for royal spectacle. However, she made up for it with a queenly progress around England. As the house guest of the local gentry and nobility, she cleverly deferred upon her hosts the expense of providing bed, breakfast and lavish entertainment for her vast entourage, in return for getting up close and personal with her royal personage. It was not enough to be queen: she had to be seen to be queen. By coincidence, it was Gay Pride weekend, and a million people waved rainbow flags in the streets of Manhattan, celebrating this landmark ruling in the campaign for gay rights, and The Castrato and His Wife was one of them. What struck me as a visitor from the UK ' where civil partnerships for same-sex couples have been legal since ' was the way in which gay marriage is still such a divisive issue in American The Castrato and His Wife. Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Academic Skip to main content. Search Start Search. Choose your The Castrato and His Wife or The Castrato and His Wife Close. Dear Customer, As a global organization, we, like many others, recognize the significant threat posed by The Castrato and His Wife coronavirus. Please contact our Customer Service Team if you have any questions. Ebook This title is available as an ebook. To purchase, visit your preferred ebook provider. The Castrato and His Wife Helen Berry The story of Giusto Ferdinando Tenducci, eighteenth-century opera star, heart-throb, and international celebrity - now told for the first time Unravels the intriguing tale of his elopement with teenage pupil Dorothea Maunsell - their subsequent marriage and celebrated divorce Affords a fascinating insight into the world of opera, sex, and marriage in the eighteenth century Explores fundamental questions about the meaning of marriage that continue to resonate in our own time. Also of Interest. Orphans of Empire Helen Berry. Agricultural Enlightenment Peter M. The Race for Paradise Paul M. Brahms Among Friends Paul Berry. Discoveries from the Fortepiano Donna Louise Gunn. The Castrato and His Wife, Helen Berry's groundbreaking portrait

The scandal is explicit on the flyleaf: The Castrato and His Wifeand historian Helen Berry weaves an account that fulfills her intriguing choice of title. Beyond the sensation, she sketches an The Castrato and His Wife narrative around the life of Giusto Ferdinando Tenducci, an eighteenth century castrato "rock star. Bach, Christoph Gluck, and similar figures. However, mere musical fame could doubtfully produce a book of this depth. Berry's account results from the extensive documentation of the marriage annulment case between Tenducci and Dorothea Maunsell. After six years of matrimony, Dorothea married another man. For the annulment and her second marriage to be legal, the prosecution had to prove Tenducci incapable of consummating the marriage. This led the court to shed light on topics previously shrouded in secrecy. Berry writes her narrative effectively, and has crafted a welcome addition to the existing literature on castrati e. Clapton ; Feldman ; Freitas In this respect, she makes a new contribution to the fields of history, music, and cultural studies. In general, studying the castrato as a liminal person in the period gender binary system illuminates the social constructs that define sexuality in art. In this book, studying an exceptional instance of that liminality sheds light on the everyday. The castrati as a European phenomenon began around the mid-sixteenth century in Italy. Boys with good singing voices were castrated to preserve their vocal quality, a goal not always realized. What began as a church tradition eventually moved to the operatic stage, and baroque Italy produced a number of famous castrati, among them Farinelli Carlo BroschiSenesino Francesco Bernardi The Castrato and His Wife, and Cusanino Giovanni Carestini —the stars of the era. In the present day, the western art music written for and performed by castrati has undergone a revival. As the practice of castration has thankfully ceased, male falsettists or "countertenors" such as Philippe Jarrousky, Andreas Scholl, James Bowman, and Max Emanuel Cencic now sing the music women playing pants roles—operatic drag—have also undertaken this repertoire. Yet, historical accounts attest that the sounds of male falsettists and castrati vary distinctly. How different we will never precisely know, although there have been attempts The Castrato and His Wife recreate that original sound for example, in the BBC documentary Castrato and the film Farinelli, il Castrato. The Castrato and His Wife there do exist a few performing endocrinological "castrati" men who naturally do not fully undergo puberty because of a hormone anomaly such as Michael Maniaci, their sound still differs from the historical castrato. Beyond the search for the castrato's vocal sound lies a search for voice in another sense: Interiority. As distinguished oral historian Valerie Yow has The Castrato and His Wife, the interior motivation, feelings, fears, hopes, and aspirations of the individual represent some of the crucial factors that direct human activity Yow Although there has been some success at uncovering the interiority of the castrato, there ought The Castrato and His Wife be more, and Berry's book successfully moves in that direction. Unsurprisingly, Berry organizes her nine chapters of "microhistory" and analysis chronologically. Although Tenducci is Italian, Berry focuses this work on English history. She therefore sets her The Castrato and His Wife scene "Prelude" inat a high society concert by the famous castrato Farinelli, in a luxurious West End London residence. There, the singer creates music that is "'a revelation Tenducci's birth in that same year to an impoverished Tuscan servant family far from the baroque extravagances of London draws stark attention to the "complex web of competing economic, cultural, and social forces in a rapidly changing" European milieu Berry Rather than providing a mere biography of Tenducci the musician, Berry uses his story as a lens through which to examine that complex web, essentially creating an ethnography both of Tenducci the individual and of the Georgian England era. Although the annulment case provides The Castrato and His Wife great deal of data, there exists little information regarding other aspects of Tenducci's life story. The man left few personal documents and fewer letters, making it difficult to recover his voice. To illuminate this void, Berry turns to informed inference based on documented experiences of similar or related individuals, diaries by Samuel Pepys, for exampleand analyses of sheet music, portraits, and engravings. She once even resorts to contemporary psychoanalysis in an attempt to understand the relationship between Tenducci and his father who ordered his castration after the operation. Although potentially problematic, her judicious speculations breathe life into his lost interiority. Despite the precarious nature of retroactive psychoanalysis, Berry fashions especially cautious prose, and suggests a prospective and intriguing view into a hidden portion of this castrato's life story. Of his life story, Tenducci's childhood most clearly lacks his voice. Although she creates an informative narrative, lack of The Castrato and His Wife necessarily makes these the two weakest chapters in the book. Tenducci is barely present, yet the reader succeeds in catching a glimpse of his activities. For example, shortly after he graduated, the governors of the conservatory petitioned the King of Naples to stop their young castrati consorting with the ballerinas of the Teatro San Carlo, who encouraged them "to drink, gamble, and engage in other bad habits" Berry This petition hints at a counter-culture of adolescent castrati, and suggests that the conservatory education was not as "angelic" as the church would have wished. Beyond the second chapter, Berry comes into her own. Her specialization and superlative research skills in eighteenth century British history resonate as she depicts Tenducci's reception in London society "The Castrato in London" and "Fancying Tenducci". She writes of the positive reaction of the British press to his musical abilities, but also of the scandal wherein he was The Castrato and His Wife in the formal separation of Lord and Lady Lyttelton She wrote him love letters. In this and other episodes Berry interrogates period gender relations. On one hand, the castrati existed as something of a paradox in that their emasculation excluded them from full status as men. However, some castrati—like the broad shouldered Tenducci—"cut fine figures of manhood which conformed to idealized notions of male beauty and bearing at the time" Berry In fact, the polite masculinity of Georgian England often positioned castrati as admired cultural leaders Berry Berry notes that they were generally regarded as sexually harmless because they were not fully men. Respectable women could therefore make castrati the object of The Castrato and His Wife affections and emotions without incurring moral censure from society Berry This precise position of castrati as somehow safe directly led to Tenducci's nuptials. The daughter of a wealthy and influential Dublin barrister, Dorothea would publish an account of the relationship and elopement intwo years after their union. Berry argues that this text "was a form of self-fashioning and performance" in which Dorothea intended to justify her actions and reestablish her and her new husband's good names Berry Yet, despite Dorthea's description of the account as "true and genuine," we do not know its accuracy, nor her true feelings for her castrato husband nor indeed if she is the veritable author. These doubts aside, the account necessarily forms the backbone of these chapters. Dorothea met Tenducci inwhen the singer traveled to Dublin for a series of recitals. The crush that Dorothea developed on him offered her an escape route when her father, Thomas, attempted to marry her off. Furious at her secret elopement with a castrato, Thomas attempted to salvage his family's reputation by arresting his son-in-law and imprisoning his daughter. After a year of this and similar harassment, the newlyweds were reunited and embarked on married life. When the couple traveled to Italy inhowever, Tenducci's intense performance schedule gave Dorothea the time and opportunity to meet and subsequently marry William Long Kingsman. For this second The Castrato and His Wife to be legal, the Tenducci marriage had to be annulled. The British plaintiffs had to prove the castrato's inability to consummate the marriage—that is, uncover exactly The Castrato and His Wife happened to him when he was a boy. Nearly two and a half years later, the court annulled The Castrato and His Wife marriage, thereby excising it from official record. Throughout this chronology, Berry brings a vast understanding of the period into conversation. As she combines biography with ethnographic detail, the reader can envision a shifting picture of Europe—and especially England—through the growing Enlightenment. She discusses the social expectations of young women like Dorothea Maunsell. The fact that Dorothea was not always met with censure and even later managed to regain respectability sheds light on the growing role of meritocracy and mass celebrity culture in Great Britain Berry Had the Tenducci marriage taken place earlier, she likely would have been ignored and castigated by society at large. The tale of Mr. Tenducci remains as sensational now as in Georgian England. Beyond the intrigue, Berry helps to reclaim part of the obscure history of the thousands of boys castrated for their vocal potential. The final two sections "Legacy" and "Coda" discuss that history from a contemporary perspective, reproaching an era capable of mutilating and trafficking children in the name of art. Beyond these topics, she writes a compelling narrative of a fascinating, yet little known story. Farinelli, il Castrato. Gelrard Corbiau, director. Stephan Films. Culver City, CA. Columbia TriStar Home Video Feldman, Martha. Freitas, Roger. Cambridge: University of Cambridge Press. Yow, Valerie. Charlton, Lois E. Myers, and Rebecca Sharpless, Lanham, Maryland: Altamira Press. View the discussion thread. Jump to Navigation. Ethnomusicology Review. Submitted by Ryan Koons on December 17, - pm. The Castrato and His Wife. New York: Oxford University Press. Francesca Kemp, director. BBC Channel Four. Clapton, Nicholas. Moreschi: The Last Castrato. London: Haus. The Castrato and His Wife postings are not peer reviewed and do not reflect the opinion of Ethnomusicology Review. We support the expression of controversial opinions, and welcome civil discussion about them. We do not, however, tolerate overt discrimination based on race, sex, gender, sexual orientation, or religion, and reserve the right to remove posts that we feel might offend our readers. Book Review: "The Castrato and his Wife" by Helen Berry | Ethnomusicology Review

The opera singer Giusto Ferdinando Tenducci was one of the most famous celebrities of the eighteenth century. Mozart and Bach both composed for him. He was nothing less than a rock star of his day, with a massive female following. He was also a castrato. Indeed, his young singing pupil, Dorothea Maunsell, found him so irresistible that she eloped with him. A huge scandal erupted and her father persecuted them mercilessly. Dorothea joined her husband at his concerts, achieving a status she could never have dreamed of as a respectable girl. She also wrote a sensational account of their love affair, an early example of a teenage novel. Embroiled in debt, the Tenduccis fled to Italy, and The Castrato and His Wife marriage collapsed when she fell in love with another man. There followed a highly publicized and unique marriage annulment case in the London courts. Everything hinged on The Castrato and His Wife status of the marriage, whether the husband was capable of consummation, and what exactly had happened to him as a small boy in a remote Italian hill village decades before. Telling the remarkable story of Tenducci for the first time, The Castrato and His Wife is both an exhilarating read and a perceptive commentary on the meaning of marriage, one that still resonates today. Buy now. A consummate achievement, as light, bright and sparkling as a The Castrato and His Wife of prosecco. It offers real insights into the life and work of a highly talented performer who made continual journeys across Europe to sing in the concert halls and opera houses of London, The Castrato and His Wife, Paris, Rome, Dublin and others…an entertaining glimpse into 18th-century showbusiness. History Workshop. Historian and Writer. https://static.s123-cdn-static.com/uploads/4575035/normal_5fc6b5c75e8c8.pdf https://static.s123-cdn-static.com/uploads/4575365/normal_5fc686a5a3c13.pdf https://cdn.sqhk.co/amymilleroo/hMvJfid/mac-os-x-lion-the-missing-manual-92.pdf https://static.s123-cdn-static.com/uploads/4568890/normal_5fc515c8dbe53.pdf https://cdn.sqhk.co/andreasokfq/rgzha5e/the-eagle-has-landed-14.pdf https://cdn.sqhk.co/nancymelineiz/ejd6Ihe/political-thought-in-america-an-anthology-2nd-edition-66.pdf