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.
Critical opinion is divided about Moreschi's recordings: some say they are of little interest other than the novelty of preserving the voice of a castrato, and that Moreschi was a mediocre singer, while others detect the remains of a talented singer unfortunately past his prime by the time he recorded. (Moreschi was in his mid-forties when he made his recordings.) Still others feel that he was a very fine singer indeed, and that much of the "difficulty" in listening to Moreschi's recordings stems from changes in taste and singing style between his time and ours. His vocal technique can certainly seem to grate upon modern ears, but many of the seemingly imperfect vocal attacks, for example, are in fact grace notes, launched from as much as a tenth below the note - in Moreschi's case, this seems to have been a long-standing means of drawing on the particular acoustics of the Sistine Chapel itself.
The dated aesthetic of Moreschi's singing, involving extreme passion and a perpetual type of sob, often sounds bizarre to the modern listener, and can be misinterpreted as technical weakness or symptomatic of an aging voice.
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