tag:blogger.com,1999:blog-11336161.post5816197172663529680..comments2024-03-06T15:42:42.589+00:00Comments on Planet Hugill: Care pupille: The London Concert 1746 - Samuel Mariño in soprano arias by Handel and GluckAnonymoushttp://www.blogger.com/profile/05139360579883837086noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-11336161.post-50900907236580951202020-05-29T07:59:35.561+01:002020-05-29T07:59:35.561+01:00Interesting, and we shall never know for certain w...Interesting, and we shall never know for certain without being extremely intrusive. But there have been counter-tenors/falsettists who have sung and recorded in the soprano register. Handel did write for soprano castratos, not as many, but a number of the late operas include such roles.<br /><br />RobertPlanet Hugillhttps://www.blogger.com/profile/03313336412497998666noreply@blogger.comtag:blogger.com,1999:blog-11336161.post-79034164595437711692020-05-29T06:16:38.546+01:002020-05-29T06:16:38.546+01:00Robert, I don't think Samuel Mariño is a count...Robert, I don't think Samuel Mariño is a countertenor; he seems to be a natural soprano. I have heard him interviewed briefly on radio, and his speaking voice is in the treble register. I don't (and don't wish to) know the state of his reproductive apparatus, so I doubt we can call him a castrato, but it appears that his voice did not change as he entered adulthood.<br /><br />As a high soprano rather than a mezzo, I don't think we can look to Mariño to become a new Carestini or Farinelli (let alone a Senesino, who was a low alto), but he could be as close as we're likely to get to the voice for whom Handel wrote the Angel in La Resurrezione, Acis (in the Italian version), and Saeviat tellus.MEWhttps://www.blogger.com/profile/03553201225739288581noreply@blogger.com