By James Q. Davies
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He possessed an engrossing strangeness that thrust him outside the human, an emptiness that made him seem at once animal and machinelike. ” The writer continued, “He stands forward as living evidence of the lamentable extent to which human nature has been degraded in order to satisfy human sensuality. . ”63 Since the first principles of production were missing, any creative generation on the eunuch’s part was unthinkable. Velluti’s detractors wanted to expose his lie, to strip him down and uncover his deception.
66 The public took up the newspaper’s goading, having not witnessed a vocal species of this type since the days of the second-rate appearances of Neri and Roselli in 1800. ”67 The King’s Theatre was packed with the most fashionable of patrons that evening. )68 A delay of several minutes as the scene was prepared heightened the mood of anticipation before Velluti’s entry. ” “The most profound silence reigned in one 28 “Veluti in Speculum” of the most crowded audiences I ever saw, broken on his entering by loud applauses of encouragement,” wrote Lord Mount Edgcumbe.
11). The implication is that he is external to experience, that his voice is partially missing. Unable to speak or sing of love directly, he must comment from the still, enigmatic world of his subconscious. As if to reinforce the sense of an onstage subject being spirited away, Tebaldo’s romanza appears as a kind of shadow aria. From the first statement of the melody Velluti’s voice is cut away—compensated for by the missing Isolina, this “real” diegetic sound, this sound of earthy femininity. His voice has been mis- or displaced.