An Amazing Life: Carlo Broschi "Farinelli"

Carlo Maria Michelangelo Nicola Broschi is known as the most famous castrato in history, although others (ranging from the highly successful Marc-Antonio Pasquilini and the ambitious Atto Melani in the mid-1600s to opera-castrato Giovanni Battista Velluti in the early 1800s and church singers in the late 1800s) were noted for wonderful voices and major contributions to stage and church music. One can piece together from various sources a fairly useful picture of Farinelli’s life, although we would wish to know more of his own thoughts and memories.




Farinelli was born on January 24, 1705, in Andria, Italy. Whereas many castrati came from poor families, his father Salvatore was minor aristocracy. In addition, he also was governor of Maratea and Cisternino from 1706 to 1709. His father, who was a composer and also maestro di cappella in the local church, made sure that his eldest son Riccardo and also Carlo had basic training in voice and music. His mother, Caterina Barrese, came from Naples. Starting in 1707, the family lived a few miles away in Barletta. They then moved in 1711 to Naples, where Riccardo attended the Conservatory of S. Maria di Loreto, concentrating upon composition.

Debate continues to today as to who made the decision to castrate Carlo. Some indications are that his father Salvatore made the decision before Carlo’s tenth birthday based upon the fact that Carlo already had an extraordinary voice and that Riccardo could carry on the family line. Some claim, however, that Salvatore’s premature death in 1717 contributed to financial insecurity and brother Riccardo’s making the decision.




Whereas most opera castrati made their debuts around ages 18 to 20, it is said that Farinelli’s rapid progress, intelligence, musical ability, and special voice resulted in Porpora’s decision to debut him as young as 15. As was the custom for young castrati, he sang a female role (“en travesty”) in Porpora’s “Angelica e Medoro.” Because of his youth and popularity, he gained the nickname “il ragazzo” ("The Boy.”)

Coincidentally and fortuitously for both persons, the librettist was Metastasio (Pietro Trapassi), who was to become the most successful and famous librettist in Europe. Farinelli and Metastasio also became life-long friends, referring to each other as “caro gemello” (“dear twin,”) although most of their interaction was through correspondence.




Based upon Farinelli’s wonderous voice and androgynous beauty, his success and fame were unusually rapid. His range of 3 ½ octaves (he usually sang within a 2 1/2-octave range) actually increased somewhat in the lower notes in his later years. He was known to be able to sing 250 notes in a single breath, hold a note for longer than one minute, to perform trills and ornamentation beyond the scope of other singers, and breathe in without the usual sound. He sang in Rome in Porpora's “Eumene “and “Flavio Anicio Olibrio.” He also took the female lead in Luc'Antonio Predieri’s “Sofonisba.”

Various myths exist surrounding the famous “duel” between Farinelli and a trumpet player, the scene in the film being the most misleading. The “duel” was a set-up by Porpora, his recognizing Farinelli’s remarkable vocal skills and phenomenal breath capacity and control. Knowing that the trumpet player was famous and highly accomplished, he wrote a vocal duet / trumpet obbligato, realizing that the instrumentalist most likely would try to outdo the singer. When both appeared to be out of wind and the trumpet player stopped, Farinelli took off again with the same breath, adding a cadenza that astonished and thrilled the audience.

Farinelli accepted an invitation to sing in Vienna in 1724. He sang in Milan and Parma in 1726. When he sang at Bologna in 1727, he was paired with the highly acclaimed castrato Antonio Bernacchi. As often occurred when castrati met on stage for the first time, the younger felt obliged to sing his very best, not only to impress the audience but also to gain the respect of the established singer. In a duet in Orlandini's “Antigona,” Farinelli made a point of demonstrating to the best of his ability his vocal beauty, agility, and musical taste. His efforts were met with great admiration from the audience. To the amusement of the audience, Bernacchi then repeated Farinelli’s cadenza and vocal ornamentation, performing them with even greater experience and expertise. Farinelli, recognizing an opportunity to learn, asked Bernacchi to give him instruction in grazie sopraffine ("highly refined graces"). Bernacchi was kind enough to do so.

Farinelli sang in Munich in 1728 in Torri's “Nicomede.” In 1729, he performed a concert for the emperor in Vienna. In 1729 in Venice, he sang the role of Arbace in Leonardo Leo’s “Catone in Utica” and the role of Mirteo in Porpora’s “Semiramide Riconosciuta” (libretti by Metastasio.) Farinelli’s fame and popularity rapidly spread. It is said that many other opera castrati despaired of ever being compared with Farinelli.

In Venice in 1730, the superlative composer Handel heard Farinelli, was extremely impressed, and wished to convince him to accept a contract to sing in Handel’s London operas. Musical history may have been much different had Handel succeeded in meeting with Farinelli. It is said that Handel heard Farinelli in Bologna in 1734 but chose contralto-castrato Carestini instead for his London operas, Handel apparently preferring a lower voice for those roles. Handel was not, however, the nemesis as portrayed in the film. As for Farinelli’s own character and personality, He was courteous and never contentious. He was loved and admired by all from stage hand to king, and he had no confrontations with other people (again, unlike the movie.)

Of musical significance is the 1731 meeting in Vienna between Farinelli and King Charles VI. According to Giovenale Sacchi, the king advised Farinelli that his astonishing vocal acrobatics always succeeded in thrilling the audiences; however, the more emotional, “pathetic” singing moved their hearts. Considering this advice to be valid, Farinelli modified his style. He continued to sing opera and oratorios throughout Italy and in Vienna.


Farinelli arrived in London in 1734. Handel already was there at the King’s Theatre at Haymarket, writing and conducting Italian-style operas. The Prince of Wales (who was not averse to being contrary to his father) took advantage of a rift that had developed between Handel and his alto-castrato Senesino by supporting the new Opera of the Nobility at Lincoln’s Inn Fields. Farinelli’s former teacher Porpora convinced him to join their opera house. During 1733 -1734, the combination of Farinelli, Senesino, and Porpora was an instant success.

His first appearance was in “Artaserse.” The music was a combination (pasticcio) of music by Riccardo Broschi and by Johann Adolph Hasse, who, at the time was about as famous as Handel himself. He sang the famous arias "Per questo dolce amplesso" (Hasse) and "Son qual nave" (Broschi). Senesino sang "Pallido il sole" (Hasse). The famous music historian of the time Dr. Charles Burney reported the following, interesting incident that occurred during the performance of "Per questo dolce amplesso:” "Senesino had the part of a furious tyrant, and Farinelli that of an unfortunate hero in chains; but in the course of the first air, the captive so softened the heart of the tyrant, that Senesino, forgetting his stage-character, ran to Farinelli and embraced him in his own." Riccardo Broschi composed "Son qual nave” simply as a showpiece for Farinelli’s many virtuosic skills. In Burney’s words, "The first note he sang was taken with such delicacy, swelled by minute degrees to such an amazing volume, and afterwards diminished in the same manner to a mere point, that it was applauded for full five minutes. After this he set off with such brilliancy and rapidity of execution that it was difficult for the violins of those days to keep pace with him."

Johan Joachim Quantz, who heard him in Milan, stated, "Farinelli had a penetrating, full, rich, bright, and well-modulated soprano voice, with a range at that time from the A below middle C to the D two octaves above middle C. ... His intonation was pure, his trill beautiful, his breath control extraordinary and his throat very agile, so that he performed the widest intervals quickly and with the greatest ease and certainty. Passagework and all kinds of melismas were of no difficulty to him. In the invention of free ornamentation in adagio, was very fertile." According to the librettist Paolo Rolli, "Farinelli has surprised me so much that I feel as though I had hitherto heard only a small part of the human voice, and now have heard it all. He has besides, the most amiable and polite manners.” It was during one of Farinelli’s London performance that the now-famous quotation was exclaimed from the audience, “One God, one Farinelli!”





London, however, could not support two opera houses. In addition, interest in Italian opera gradually waned. Handel already was composing fewer operas and concentrating more on oratorios in English. Despite his time in London having been a financial success for Farinelli himself, he decided to accept an invitation by the Spanish queen.

On his way to Spain, Farinelli sang in Paris at the court of Versailles for King Luis XV. In admiration, the king gave Farinelli a large sum of money along with his portrait set in diamonds.

Farinelli eventually arrived at the Spanish court in Madrid where Queen Elisabetta Farnesse hoped that Farinelli’s angelic voice could cure King Philip V (1700-1746) of his chronic depression. A harpsichord was placed in the room adjacent to the king’s bedchamber. Farinelli sang, and the king was so astonished and moved that he requested that Farinelli enter the room and sing further for him. Apparently, this “music therapy” had a sufficient effect upon the king so that he rose from bed, finally took care of his person, and resumed his royal duties. Farinelli thought that his visit to Spain would be brief; however, the royal family convinced him to stay indefinitely. He was named criado familiar ("Honorary Member of the Royal Family" or “Chamber Musician to the King).

King Philip V quickly discerned that Farinelli was more than just an exceptional singer: he was highly intelligent, well educated, experienced as to the courts and politics of Europe; and he was discrete and loyal. He became very influential at court far beyond affairs of music. In addition to his advisory duties, he sang privately for the king every evening. He developed the first opera house in Madrid; and in 1738, he arranged for an Italian opera company to come to Madrid and to expose the Spanish to opera seria

King Philip V died nine years later. His son Ferdinand VI was crowned; and he, along with his wife Queen Barbara of Portugal, greatly appreciated Farinelli’s advice as well as his musical skills. Farinelli and the queen sang duets together, and the king accompanied him on the harpsichord.

During this time, Farinelli took advantage of his accumulated wealth and current income to help the poor financially, build hospitals for the poor, raise funds for orphans, assist new castrati and musicians, and to extend his kindness to everyone. In 1750, the king granted Farinelli (at the age of 45) the Order of Calatrava, which brought Farinelli into the ranks of nobility. Some portraits thereafter show him proudly wearing the jewel-encrusted badge on his chest. (He later requested that, upon his death, he be buried in the ceremonial cape.)

Again contrary to the film portrayal, he had a pleasant and supportive relationship with his brother Riccardo, his wife, and their children. Farinelli managed to acquire a position for his brother as head of the Spanish navies. Riccardo, however, died at the early age of 53, leaving Farinelli more than thirty years without his brother.

Upon the death of King Ferinand VI, his half-brother was brought to Madrid and named King Charles III. In addition to Charles having had no interest in music, he was the son of Queen Elisabetta Farnese, who was unhappy that Farinelli had decided to remain at court after her husband King Philip V's death, rather than retiring from court as she had done. In addition, Charles felt that Farinelli had acquired more power and influence at court than was comfortable for Charles. He asked Farinelli to leave Spain but granted him a life-long pension.




Farinelli had anticipated retirement in Bologna, Italy. He previously in 1732 had gained citizenship of the city-state and had acquired property upon which to build a manor house. Thus, in 1761, began the saddest and most lonely portion of Farinelli’s life. Although he had visitors, many of them prestigious, built up a collection of more than 300 art works, acquired many keyboard instruments which he played, played violins (including a Stradivarius and an Amati), learned to play the viola d’amore, and had frequent visits from one local friend, he did not have the intimate, personal relationship he so desired.

He did continue practicing his singing in private for many years and was said to have been in good voice. He also wrote some arias and revised some of his favorites, often adding a surprising number notes in the tenor range, which he was able to sing.

Some of his more notable visitors included Mozart, Gluck, Emperor Joseph II, Casanova, and Dr. Charles Burney. He never offered to sing for a guest but did so out of politeness if asked. He continued his extensive correspondence with his friend Metastasio and also developed a friendship with music historian Giovanni Battista (“Padre Martini.”)




A few months after Metastasio’ death in Vienna, Farinelli passed away. In his will, he had asked that he be buried in the mantle of the order of Calatrava. He was interred in the cemetery of the Capuchin monastery of Santa Croce in Bologna. His estate included many valuable gifts from royalty, an extensive collection of paintings including several portraits of himself, one by his friend Jacopo Amigoni (who included himself in a particularly large one, which I have seen and have posted on this site). His several keyboard instruments included an early form of piano (cembalo a martellini) made at Florence in 1730.

During the Napoleonic wars, his place of burial was destroyed, and for many years it was thought that his remains were lost. Only recently has it been discovered that, in 1810, Farinelli's great-niece Maria Carlotta Pisani had his remains transferred to the cemetery of La Certosa in Bologna. Obviously Farinelli's not having had children, his nephew Matteo Pisani became his heir. He sold Farinelli's house in 1798. It later was the office for a sugar factory. Unfortunately, it was damaged during World War II and subsequently torn down in 1949. Maria Carlotta bequeathed many of Farinelli's letters to the University Library in Bologna. She herself was buried in the same grave as Farinelli in 1850.



When, in 2006, everyone was surprised to rediscover the reburial site of Farinelli's remains, the decision was made to disinter them from the Certosa cemetery. The restacking of the bones in this second site had damaged some of his remains, but many of the major bones were sufficiently intact to study using DNA, X-rays, and CAT scans. The first conclusions to be noted were that Farinelli appeared to have been healthy and, not surprisingly, much taller than the average man of the time.
With the resurrection of interest in castrati and Baroque vocal music, the development of better quality Baroque-style voices than in recent history, and more complete Baroque opera productions, interest naturally has been renewed in Farinelli himself. The 1994, award-winning film was instrumental in reminding audiences of Farinelli’s greatness, although the engaging film had very little to do with the actual life and personality of the man himself. I still am awaiting a good quality, comprehensive biography of Farinelli in English.

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