The Voice of Giulio Cesare, Castrato Senesino Francesco Irene Augusta Bernardi, known by the stage name “Senesino” in reference to his place of birth, Siena, lived from 1686 to 1758. He gained well deserved fame throughout Europe as one of the greatest and most popular alto-castrati; however, it is his lengthy association with George Frideric Handel for which he now is most famous. The Beginning The son of a barber, Senesino was noted for a fine voice and joined the cathedral choir in 1695. The decision was made to preserve his voice at age 13 (contrary to the myth that all such surgeries were done at a much earlier age.) At the age of 21, Senesino made his operatic debut in Venice. As his fame and popularity spread, he was asked to sing in Vicenza, Bologna, Genoa, Rome, Ferrara, Brescia, Florence, Naples, Paris, Dresden, and eventually London. He sang leading roles in operas by Ruggeri, Boniventi, Lotti, Pollarolo, Caldara, Ottoboni, A. Scarllati, Handel, A. Bononcini, Hasse, Porpora, Sandoni, Veracini, and Ariosti. His Voice Johann Quantz described Senesino’s voice as follows: “He had a powerful, clear, equal, and sweet contralto voice with a perfect intonation and an excellent shake (trill). His manner of singing was masterly and his elocution unrivalled. Though he never loaded Adagios with too many ornaments, yet he delivered the original and essential notes with the utmost refinement. He sang Allegros with great fire and marked rapid divisions from the chest in an articulate and pleasing manner. His countenance was well adapted to the stage, and his action was natural and noble. To these qualities he joined a majestic figure.” His Personality Unfortunately, Senesino also was known to have exhibited a difficult personality. He appeared to be vain concerning his abilities and performance value, demanding (and often receiving) excessive fees and his own way with performance. He had a reputation for being tempermental, insulting both to singers and to composers, and for engaging in intrigues. Senesino’s heated argument with composer Johann Heinichen resulted in his dismissal. Upon Handel’s hearing Senesino sing, he engaged the singer for London. Thus began the most famous part of Senesino’s career. The First London Years Senesino’s London debut at King’s Theatre was in 1720 singing in a Bononcini opera rather than one by Handel. He appeared in all thirty-two operas produced during his stay, including thirteen by Handel. Financial difficulties and personality conflicts from the very beginning resulted in Handel’s Academy’s demise in 1728. Senesino took this opportunity to return to the Continent to build his home in Siena (he had inscribed above the door “The folly of the English has laid the foundation.”) Senesino continued to sing from 1728-1730 in Paris, Venice, and Turin. Return to London Despite Handel and Senesino’s past tempestuous relationship, Handel sought him for the second London Academy to replace Bernacchi, but at a somewhat reduced fee. He re-engaged the singer in 1730 . Senesino sang in several revivals of Handel’s operas as well as four new ones. As Handel leaned more toward composing oratorios, Senesino sang in the first two from 1732-1733. Personality clashes between singer and composer escalated to the point whereupon Senesino defected to a new, competing opera company, the Opera of the Nobility, first as Lincoln’s Inn Fields, and later at King’s Theatre. Nicola Porpora (famed composer, conductor, and teacher of Farinelli and Caffarelli) was the main composer. In three opera seasons from 1733-1736. Senesino was joined by singers Farinelli, Bertolli, Montagnana, and Cuzzoni and sang in five operas. So impressed with his first hearing of Farinelli, Senesino interrupted the opera to go to him out of character and to embrace him. Upon Senesino’s departure from London, a popular song “The Lady’s Lamentation for the Loss of Senesino” circulated for some time. Returning Home Returning to the Continent in 1737, Senesino sang in Turin, Florence, and privately in a duet with future empress Maria Theresa. He sang again in Naples in 1739 and finally in 1740. There were reports in 1759 of his recent demise. Because Senesino is known to have sung as a contralto or alto castrato, and also considering the continuing popularity of music which he sang, countertenors today enjoy performing the arias and oratorio airs which he first sang (there are some fine CDs and DVDs available), an advantage for his vocal legacy over that of soprano-castrato Farinelli; for the range and complexity of that voice has not been duplicated today. |
