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Michael Maniaci: Exsultate, Jubilate - Alleluja

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Uploaded by on Feb 28, 2008

Third movement from the famous motet, written in 1773 by the young Mozart for the soprano castrato Venanzio Rauzzini.

Second part, posted by sfkcbf
http://www.youtube.com/watch?v=Ehnjo88_ElQ
Make sure that you check it out, superior performance compared to this movement.

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  • likes, 6 dislikes

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Uploader Comments (Thrax1982)

  • Was this work really written by Mozart for a male soprano? I think the female voice fits better here!

  • This was written for castrato Rauzzini, how did he sound like we will never know. Some say he was soprano some say mezzo.

    Anyway, it is a sacred composition, no woman could have sung it (at least not in a church).

  • OMG! Please hold your tongue.

    A true male castrati had the lung capability to hit the high notes at 6 octaves, as the infamous Farinelli could.

    There was a reason aria's were specifically written for male castrati's.

    Michael gives us an insight and glimmer of what it must of been like at the height of the 'rock super stars of Opera' such as Ferinelli, but Ferinelli he is not.

    We can only image from the literature written aqbout him.

    Woman could never achieve the sound of a true castrati.

  • "Woman could never achieve the sound of a true castrati."

    I disagree, for example Nancy Storace was known across Europe for her ability to sound exactly like Luigi Marchesi when she wanted to.

  • Thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with intensive training, gave them unrivalled lung-power and breath capacity. Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible, and quite different from the equivalent adult female voice, as well as higher vocal ranges of the uncastrated adult male.

    Therefore, women could never match the octaves, nor the unique sound of a castrati.

  • This is all generally correct but tells us little of specific abilities of certain men or women. Women were common in male parts even in Italy, even in Naples where there were castrati everywhere. For example Pergolesi's 'Adriano in Siria' - 3 parts for high male voice but only one castrato was involved.

Top Comments

  • Nice job on this overall. My vote for best Mozart Alleluia is Shirley Verrett singing in E-flat. By the sound of the strings in this, it sounds like a period instrument orchestra. Usually these groups play at A = 415 instead of A = 440, so the high C sounds like our modern high B.

  • Sorry, I disagree.

    Castration before puberty prevents a boy's larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence is largely retained, and the voice develops into adulthood in a unique way. As the castrato's body grew, his lack of testosterone meant that his epiphyses (bone-joints) did not harden in the normal manner.

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All Comments (39)

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  • Wow -- what an impressive voice! I never heard of Maniaci before, but I'm glad I discovered this. Lovely.

  • sigh! I could listen to this all day. I have the hugest operacrush on Michael Maniaci. :)

  • I really love his voice~~

  • I like this version better than the one in his debut album.

  • True! The reason being, Storace was taught by Rauzzini, for whom this piece was composed.

  • interesting. Marian has never been to my taste, not for any technical reasons, just I have a certain vision of how the countertenor/male soprano should sound, and Maniaci better captures that for me

  • I prefer Radu Marian´s voice

  • maniaci is wonderfull, he is number 1

  • i will learn this piece in some time

  • I love Michael's voice, especially in this piece.

    BTW I've heard versions with sopranos and trebles too and I don't think any voice sounds "wrong" for the piece, just different. Max Emanuel Cencic's treble version is also very good.

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