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Italy's Eighteenth CenturyGender and Culture in the Age of the Grand Tour$
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Paula Findlen, Wendy Wassyng Roworth, and Catherine M. Sama

Print publication date: 2009

Print ISBN-13: 9780804759045

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804759045.001.0001

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PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in SSO for personal use (for details see http://www.stanford.universitypressscholarship.com/page/privacy-policy).date: 21 November 2017

Sex Without Sex

Sex Without Sex

An Erotic Image of the Castrato Singer

Chapter:
(p.203) Eight Sex Without Sex
Source:
Italy's Eighteenth Century
Author(s):

Roger Freitas

Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804759045.003.0009

By the beginning of the eighteenth century, the castrato had become the overwhelming favorite to portray young, amorous men in the operatic stage. This chapter focuses on the observed effeminate characteristics of the castrati and examines how their evident effeminacy was linked to eroticism, arguing that castrati represented a theatrical imitation, characteristically exaggerated, of an erotically charged effeminate boy on the operatic stage.

Keywords:   castrato, amorous, effeminate, castrati, eroticism, operatic stage

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