FARINELLI (1705-1782), whose real name was CARLO BROSCHI, one of the most extraordinary male soprano singers that ever lived, was born on Jan. 24, 1705, at Naples. He was the nephew of Cristiano Farinelli, the composer and violinist, whose name he took. He studied under N. A. Porpora, and, to the pos session of a marvellous voice, added a brilliant technique. In 17 2 2 he made his first appearance at Rome in his master's Eumene, arousing the greatest enthusiasm. Porpora had written an obbligato for a popular German trumpet player to one of the boy's songs, and the singer surpassed the trumpet, holding and swelling a note of prodigious length, purity and power, and in the variations, roulades and trills which he introduced into the air. In 1724 he appeared at Vienna, and at Venice in the following year, return ing to Naples shortly afterwards. He sang at Milan in 1726, and at Bologna in 1727, where he first met and acknowledged himself 'vanquished by the singer Antonio Bernacchi (b. 1700), to whose instruction he was much indebted. With ever-increasing success and fame Farinelli appeared in nearly all the great cities of Italy; and returned a third time to Vienna in 1731. He now modified his style, it is said on the advice of Charles VI., from mere bravura of the Porpora school to one of pathos and simplicity. He visited London in 1734, arriving in time to lend his powerful support to the faction which in opposition to Handel had set up a rival opera with Porpora as composer and Senesino as prin cipal singer. But not even his aid could make the undertaking suc cessful. His first appearance at the Lincoln's Inn Fields theatre was in Artaserse, much of the music of which was by his brother, Riccardo Broschi. His success was instantaneous, and the prince of Wales and the court loaded him with favours and presents. Having spent three years in England, Farinelli set out for Spain, staying a few months on the way in France, where he sang before Louis XV. In Spain, where he had only meant to stay a few months, he ended by passing nearly twenty-five years. His voice, employed by the queen to cure Philip V. of his melancholy mad ness, acquired for him an influence with that prince which gave him eventually the power, if not the name, of prime minister. This power he was wise and modest enough to use discreetly. For ten years, night after night, he had to sing to the king the same four songs, and never anything else. Under Ferdinand VI. he held a similar position, and was decorated (1750) with the cross of Calatrava. He utilized his ascendancy over this king by persuad ing him to establish an Italian opera. After the accession of Charles III. Farinelli was asked to leave Spain, but was allowed to retain his salary on condition that he lived at Bologna and not at Naples, the reservation being imposed for political reasons. He died at Bologna on July 15, 1782.
See G. Sacchi, Vita del Cay. Don Carlo Broschi (1784) ; C. Ricci, Burney, Casanova et Farinelli in Bologna (1890) ; J. Desastre, Carlo Broschi (1903) ; Franz Habock, Die Gesangkunst der Kastraten . . . (1923).