Handel's Messiah. What possible connection can there be with castration? Christine and I will attend a performance of Handel's Messiah oratorio tonight. This event prompts a personal observation that the composition never intended. I will pave the way a bit. The oratorio contains three Parts, 16 Scenes and 53 movements in which are numerous solo pieces for soprano, alto/contralto, tenor and bass voices. In 1741 when Handel first presented his Messiah oratorio in Dublin, the women soloists were soprano Christina Maria Avoglio and Susannah Cibber, an established stage actress and contralto. The female roles and the date are important to note.
Tonight the alto (contralto) sections will be sung by a male counter-tenor. Alto is customarily a female vocal range. Counter-tenor is a male voice that naturally and through training is the equivalent of soprano, mezzo-soprano or contralto. It's a unique and somewhat remarkable sound.
There is a stunning back-story to a high-pitched male voice. Centuries ago, boys were castrated so they could sing the high notes that some counter tenors can reach.
