Castrato in the context of "Endocrinology"

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.