Most of the opera singers of the XVII–XVIII Centuries had a sobriquet or a nickname that most of the times was much more significant that the real name itself, mostly for primedonne and castratos. That nickname, such as Farinelli, Cusanino or Senesino had a private value that put into effect an emotional detachment from their families, responsible of their menomation; at the same time it gave a protective mask to face the public. Nontheless, the nickname had a public value too that enabled those singers to begin their carriers with the protection of the name of a well known teacher or patron.
Valentina Anzani (2015). Pseudonimi all’opera: un soprannome per la celebrità. IL NOME NEL TESTO, 17, 147-161.
Pseudonimi all’opera: un soprannome per la celebrità
ANZANI, VALENTINA
2015
Abstract
Most of the opera singers of the XVII–XVIII Centuries had a sobriquet or a nickname that most of the times was much more significant that the real name itself, mostly for primedonne and castratos. That nickname, such as Farinelli, Cusanino or Senesino had a private value that put into effect an emotional detachment from their families, responsible of their menomation; at the same time it gave a protective mask to face the public. Nontheless, the nickname had a public value too that enabled those singers to begin their carriers with the protection of the name of a well known teacher or patron.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
