Gaetano Guadagni

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Image:Gaetano Guadagni.JPG Gaetano Guadagni (born Lodi or Vincenza 11 October 1729, died Padua 11 December 1792) was an Italian alto (though later soprano) castrato singer, most famous for singing the role of Orpheus at the premiere of Gluck's opera Orfeo ed Euridice in 1762. In London, he also worked with George Frideric Handel, who was so impressed with Guadagni's voice that he completely rewrote a piece from his Messiah, "But Who May Abide," and suited it especially to his voice. Originally simply a recitative, Handel added more notes to the piece, transposed it from the voice part of bass to that of alto, and added the virtuosic "For he is like a refiner's fire" section to better show off Guadagni's vocal abilities. Handel also reworked the role that Susanna Cibber had sung in Samson for Guadagni, who furthermore created the role of Didymus in Handel's Theodora at this time. At this time his voice was described by music historian Charles Burney as a "full and well-toned countertenor<ref>It seems unlikely that this reference to unemasculated countertenors is the result of any gender confusion. It is generally thought that Burney was referring to Guadgni's voice, not his actual personage. He compares it to the English tradition of highly skilled falsettists, such as those who sung much of Purcell's most virtuosic music.</ref>". His acting ability - which also won praise from Burney - was refined by the well-known actor, author and theatre producer David Garrick.

After various engagements in diverse European cities, on the 5th of October in 1762 Guadagni sang the role of Orpheus in Gluck's adaptation of the well-known story of "Orpheus and Eurydice" at the first performance at Vienna. After this role - which marked the start of Gluck's reforms of opera seria - in 1763 Guadagni sang the role of Orestes in Traetta's Ifigenia in Tauride, and in 1765 took the title role in another of Gluck's operas, Telemaco. According to Burney, he fell out of favour with audiences as, in order to maintain dramatic unity, he would not bow to acknowledge applause: nor would he repeat arias. In his later years he retired to Padua and there sang sacred music as a soprano.