Castrato in the context of Contralto

A eunuch (/ˈjuː.nək/ YOO-nək, Ancient Greek: εὐνοῦχος) is a boy or man who has been castrated. Throughout history, castration often served a specific social function. The earliest records for intentional castration to produce eunuchs are from the Sumerian city of Lagash in the 2nd millennium BC. Over the millennia since, they have performed a wide variety of functions in many different cultures: courtiers or equivalent domestics, for espionage or clandestine operations, castrato singers, concubines or sexual partners, religious specialists, soldiers, royal guards, government officials, and guardians of women or harem servants.

Eunuchs would usually be servants or slaves who had been castrated to make them less threatening servants of a royal court where physical access to the ruler could wield great influence. Seemingly lowly domestic functions—such as making the ruler's bed, bathing him, cutting his hair, carrying him in his litter, or even relaying messages—could, in theory, give a eunuch "the ruler's ear" and impart de facto power to the formally humble but trusted servant.

A eunuch (/ˈjuː.nək/ YOO-nək, Ancient Greek: εὐνοῦχος) is a boy or man who has been castrated. Throughout history, castration often served a specific social function. The earliest records for intentional castration to produce eunuchs are from the Sumerian city of Lagash in the 2nd millennium BC. Over the millennia since, they performed a wide variety of functions in many different cultures: courtiers or equivalent domestics, for espionage or clandestine operations, castrato singers, concubines or sexual partners, religious specialists, soldiers, royal guards, government officials, and guardians of women or harem servants.

Eunuchs were usually servants or slaves who were castrated to make them less threatening servants of a royal court where physical access to the ruler could wield great influence. Seemingly lowly domestic functions—such as making the ruler's bed, bathing him, cutting his hair, carrying him in his litter, or even relaying messages—could, in theory, give a eunuch "the ruler's ear" and impart de facto power to the formally humble but trusted servant.

Il crociato in Egitto (The Crusader in Egypt) is an opera in two acts by Giacomo Meyerbeer, with a libretto by Gaetano Rossi. It was first performed at La Fenice theatre, Venice on 7 March 1824. The part of Armando was sung by the famous castrato, Giovanni Battista Velluti; the opera was probably the last to feature a leading role written for a castrato. It is the last of Meyerbeer's series of operas in Italian, and became the foundation of the composer's international success.

Pyrrhus and Demetrius was a 1708 adaptation for the London stage of the 1694 opera Il Pirro e Demetrio by Alessandro Scarlatti with a libretto by Adriano Morselli, first performed at the Teatro San Bartolomeo.

Pyrrhus and Demetrius was the second most successful opera in early 18th century London, after Camilla. It had 58 or 59 performances between 1708 and 1717. The opera marked the London debut of the castrato Nicolò Grimaldi (Nicolini).

In theater, a breeches role or breeches part (also pants role, pants part, trouser role, trouser part, and Hosenrolle) is a role in which a female actor performs in male clothing. Breeches, tight-fitting knee-length pants, were a standard male garment when these roles were introduced. The theatrical term travesti covers both this sort of cross-dressing and also male actors dressing as female characters. Both are part of the long history of cross-dressing in music and opera and later in film and television.

In opera, a breeches role refers to any male character that is sung and acted by a female singer. Most often the character is an adolescent or a very young man, sung by a mezzo-soprano or contralto. The operatic concept assumes that the character is male, and the audience accepts him as such, even knowing that the actor is not. Cross-dressing female characters (e.g., Leonore in Fidelio or Gilda in Act III of Rigoletto) are not considered breeches roles. The most frequently performed breeches roles are Cherubino (The Marriage of Figaro), Octavian (Der Rosenkavalier), Hansel (Hansel und Gretel) and Orpheus (Orpheus and Euridice), though the latter was originally written for a male singer, first a castrato and later, in the revised French version, an haute-contre.

Farinelli (Italian pronunciation: [fariˈnɛlli]; 24 January 1705 – 16 September 1782) was the stage name of Carlo Maria Michelangelo Nicola Broschi (pronounced [ˈkarlo ˈbrɔski]), a celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera, composer, and musician. Farinelli was a soprano castrato, with a range from approximately F3-D6.

Francesco Bernardi (pronounced [franˈtʃesko berˈnardi]; 31 October 1686 – 27 November 1758), known as Senesino (pronounced [seneˈziːno] or traditionally [seneˈsiːno]), was an Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel. He was also involved in a public scandal with the soprano Anastasia Robinson in 1724, which was circulated widely by the satirist Jonathan Swift, and inspired a number of anonymously-written obscene, misogynistic, and at times sexually subversive epistles written between 1724 and 1736 which have become a topic of study among scholars of Restoration literature.

Gaetano Berenstadt (7 June 1687 – buried 9 December 1734) was an Italian alto castrato who is best remembered for his association with the composer George Frideric Handel. Berenstadt created roles in three of Handel's operas. Berenstadt's parents were German and his father was timpanist to the Grand Duke of Tuscany. By the end of his 27-year-long career Berenstadt had sung in 55 dramatic works, 33 of which were newly composed.

Berenstadt was born in Florence. A pupil of Francesco Pistocchi, after singing at Naples and Bologna, Berenstadt visited London in 1717, where he performed the role of Argante in a revival of Handel's Rinaldo. The original bass part, sung by Giuseppe Maria Boschi, was transposed up for Berenstadt's alto voice and in this revised version the character has three new arias composed for Berenstadt to sing. After returning to Italy to sing at Rome and Milan Berenstadt came back to London in 1722 to sing for the composers of the Royal Academy of Music (1719). It was at this time that he created the roles of Tolomeo in Handel's Giulio Cesare, the title role in Flavio, and the role of Adelberto in Ottone. He also performed in operas by Bononcini and Ariosti.