Alessandro Moreschi

莫雷斯奇1858年生于意大利羅馬蒙泰孔帕特里奧(Montecompatrio)，1871年從師管風(fēng)琴家、作曲家卡波契(G. Capocci)，1883年(25歲)加入羅馬西斯廷教堂合唱團(tuán)，擔(dān)任獨唱，唱了不少彌撒曲和神劇，如貝多芬的《基督在橄欖山》等。1898年轉(zhuǎn)任合唱指揮，1913年退休，他在西斯廷教堂合唱團(tuán)任職30年。莫雷斯奇逝世于1922年，終年64歲。
在錄音技術(shù)發(fā)明之后的1902—1904年，莫雷斯奇聯(lián)同西斯廷教堂合唱團(tuán)灌錄了17款唱片，即CD中的17首作品，有普拉泰西(Pratesi)的《釘在十字架上》，托斯蒂的《理想佳人》、《祈愿》，梅露齊(Meluzzi)的《圣體頌》，莫扎特的《圣體頌》，羅西尼的《釘在十字架上》，萊巴赫(Leibach)的《主耶穌》，巴赫一古諾的《圣母頌》，卡波契的《我們贊美你》等。這些早期的錄音，制作原始，質(zhì)量低劣，噪聲很大，音響殘舊。不過認(rèn)真細(xì)聽，仍可辨出閹人歌手的嗓音特質(zhì)及其演唱特點。 CD所聽，莫雷斯奇的聲音確如史料所述的閹人歌手那樣純凈明亮，高聲區(qū)的聲音顯得更為纖柔輕盈，低中聲區(qū)的聲音似乎加了胸聲(Chaest Voice)的因素，聲音頗為雄厚，少了些女聲的音色，過渡音(Passaggio)不是那么自然，聲區(qū)不是那么統(tǒng)一，音色突變，痕跡鮮明，沒有什么驚人的歌唱技巧。其實，莫雷斯奇錄音時已過盛年，也不算是優(yōu)秀的閹人歌手，他的傳世錄音不足以代表閹人歌手的絕藝。不過，這款世上僅存的閹人歌手的錄音可供世人了解閹人歌手演唱的真貌，仍不失為史料中的遺寶。
Alessandro Moreschi was born into a large Roman Catholic family in the town of Monte Compatri, near Frascati. Baptised on the day of his birth, it is clear that his life was in danger. Perhaps he was born with an inguinal hernia, for which castration was still a "cure" in nineteenth-century Italy. Or he could have been castrated later, around 1865, which would have been more in line with the centuries-old practice of castrating vocally talented boys well before puberty. In any case, much later in life, he referred to his enjoying singing as a boy in the chapel of the Madonna del Castagno, just outside his native town.
It seems likely that Moreschi's singing abilities came to the notice of Nazareno Rosati, formerly a member of the Sistine Chapel choir, who was acting as a scout for new talent, and took him to Rome in about 1870. Moreschi became a pupil at the Scuola di San Salvatore in Lauro, where he was taught by Gaetano Capocci, maestro di cappella of the Papal basilica of St John Lateran. In 1873, aged only fifteen, he was appointed First Soprano in the choir of that basilica, and also became a regular member of the groups of soloists hired by Capocci to sing in the salons of Roman high society. His singing at such soirées was vividly described by Anna Lillie de Hegermann-Lindencrone, the American wife of the Danish Ambassador to the Holy See: "Mrs Charles Bristed of New York, a recent convert to the Church of Rome, receives on Saturday evening . . . The Pope's singers are the great attraction . . . for her salon is the only place outside of the churches where one can hear them. The famous Moresca [sic], who sings at the Laterano, is a full-faced soprano of some forty winters. He has a tear in each note and a sigh in each breath. He sang the jewel song [sic] in [Gounod's] Faust, which seemed horribly out of place. Especially when he asks (in the hand-glass) if he is really Marguerita, one feels tempted to answer 'Macchè' [not in the least] for him."? In 1883 Capocci presented a special showcase for his protégé: the first performance in Italy of the oratorio Christus am ?lberge by Beethoven, in which Moreschi sang the demanding coloratura role of the Seraph. On the strength of this performance, he became known as l'Angelo di Roma, and shortly after, having been auditioned by all the members of the Sistine Chapel choir, he was appointed First Soprano there, a post he held for the next thirty years.
Moreschi's Director at the Sistine was Domenico Mustafà, himself once a fine castrato soprano (maybe finer even than Moreschi), who realised that Alessandro was, amongst other things, the only hope for the continuation of the Sistine tradition of performing the famous setting of the Miserere by Gregorio Allegri during Holy Week. When Moreschi joined the Sistine choir, there were still six other castrato members, but none of them was capable of sustaining this work's taxing soprano tessitura. Moreschi's star status sometimes seems to have turned his head: "Moreschi's behaviour was often capricious enough to make him forget a proper professional bearing, as on the occasion after a concert when he paraded himself among the crowd like a peacock, with a long, white scarf, to be congratulated ..."
The Sistine Chapel Choir was run on traditional lines centuries old, and had a strict system of hierarchies. In 1886, the senior castrato, Giovanni Cesari, retired, and it was probably then that Moreschi took over as Direttore dei concertisti (Director of soloists). In 1891 Moreschi took his turn as segretario puntatore, being responsible for the day-book of the choir's activities, and the following year was appointed maestro pro tempore, a largely administrative post concerned with calling choir meetings, fixing rehearsals, granting leave of absence and the like. During this year, Alessandro was also responsible for overseeing the choir's correct performance of its duties in the Sistine Chapel. Artistically speaking, the job involved him in choosing soloists and in developing repertoire. This entire period was one of great upheaval within the Sistine choir's organisation as well as Catholic church music at large: the reforming movement known as Cecilianism, which had originated in Germany, was beginning to have its influence felt in Rome. Its calls for the Church's music to return to the twin bases of Gregorian chant and the polyphony of Palestrina were a direct threat to both the repertoire and the practice of the Sistine Chapel. These were resisted by Mustafà, but time was against him. In 1898, he celebrated fifty years as a member of the Sistine, but also appointed Lorenzo Perosi as joint Perpetual Director. This 26-year-old priest from Tortona in Lombardy turned out to be a real thorn in Mustafà's side. Moreschi was very much a silent witness to the struggles between the forces of tradition and reform, but was also caught up in secular matters: on 9 August 1900, at the express request of the Italian royal family, he sang at the funeral of the recently assassinated king, Umberto I. This was all the more extraordinary because the Papacy still had no formal contact with the Italian secular state, which it regarded as a mere usurper (see Unification of Italy).
Alessandro Moreschi (c. 1905).
In the spring of 1902, in the Vatican, Moreschi made the first of his phonograph recordings for the Gramophone & Typewriter Company of London. He made additional recordings in 1904: there are seventeen tracks in all. Between these two sessions, several most fateful events occurred: in 1903 the aged Mustafà finally retired, and a few months later Pope Leo XIII, a strong supporter of Sistine tradition, died. His successor was Pope Pius X, an equally powerful advocate of Cecilianism. One of the new pontiff's first official acts was the promulgation of the motu proprio, Tra le sollecitudini ("Amidst the Cares"), which appeared, appropriately enough, on St Cecilia's Day, 22 November, 1903. This was the final nail in the coffin of all that Mustafà, Moreschi and their colleagues stood for, since one of its decrees stated: "Whenever . . . it is desirable to employ the high voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church." Perosi, a fanatical opponent of the castrati, had triumphed and Moreschi and his few remaining colleagues were to be pensioned off and replaced by boys. A singing pupil of Moreschi's, Domenico Mancini, was such a good imitator of his master's voice that Perosi took him for a castrato (for all that castration had been banned in Italy in 1870), and would have nothing to do with him. Ironically, Mancini became a professional double-bass player.
Officially, Alessandro was a member of the Sistine choir until Easter 1913 ( at which date he qualified for his pension after thirty years' service), and remained in the choir of the Cappella Giulia of St Peter's, Rome until a year after that. Around Easter 1914 he met the Viennese musicologist Franz Hab?ck, author of the extremely important book Die Kastraten und ihre Gesangskunst, who had plans to cast Moreschi in concerts reviving the repertoire of the great eighteenth-century castrato Farinelli. These never came to fruition: by this date Moreschi (now fifty-five years old) no longer had the required high soprano range, and in any case he had never had the necessary virtuoso operatic training.
In retirement, Moreschi lived in his apartment at 19 Via Plinio, a few minutes' walk from the Vatican, where he died at the age of sixty-three, possibly of pneumonia. His funeral mass was a large and public affair in the church of San Lorenzo in Damaso, and was conducted by, of all people, Perosi, who, in spite of his antipathy towards castrati, felt towards Moreschi, a "great friendship which bound them together".Moreschi was buried in the family vault in the Cimitero del Verano, the great "city of the dead" not far from Rome's Termini station. His colleague Domenico Salvatori lies in the same tomb.