V roce 1734 navštívil Londýn, aby podpořil operní společnost, kterou tam Porpora založil a která měla konkurovat neotřesitelné pozici G. F. Händela. He occasionally composed, writing a cantata of farewell to London (entitled Ossequiosissimo ringraziamento, for which he also wrote the text), and a few songs and arias, including one dedicated to Ferdinand VI.

Broschi was born in Andria (in what is now Apulia, Italy) into a family of musicians. ENESCO Georges. It is, however, also possible that he was castrated earlier, since, at the time of his father's death, he was already twelve years old, quite an advanced age for castration.

Farinelli surpassed the trumpet player so much in technique and ornamentation that he "was at last silenced only by the acclamations of the audience" (to quote the music historian Charles Burney).

He also sang for other members of the royal family and organised private performances by them, and by professional musicians in the royal palaces. Zemřel několik měsíců po smrti Metastasia 15. července 1782. Salvatore Broschi died unexpectedly on 4 November 1717, aged only 36, and it seems likely that the consequent loss of economic security for the whole family provoked the decision, presumably taken by Riccardo, for Carlo to be castrated. In 1729, during the Carnival season in Venice, he sang in two works by Metastasio: as Arbace in Metastasio's Catone in Utica (music by Leonardo Leo) and Mirteo in Semiramide Riconosciuta (music by Porpora). Farinelli tízéves korától Nicola Porpora tanítványa lett, akinek Pietro Metastasio librettójára írt Angelica e Medoro című operájával debütált 1720-ban. He respected his colleagues, composers and impresarios, often earning their lifelong friendship as a result, whereas Caffarelli was notoriously capricious, malicious and disrespectful of anyone sharing the stage with him, to the point of cackling and booing fellow singers during their own arias. [4] It was transferred to the Duke of York's Theatre in London's West End in the final months of 2015, with the role of Farinelli doubled between 'speaking' and 'singing', with Iestyn Davies playing the latter. – Bologna, 1782. szeptember 16.) Though rich and still famous, much feted by local notables and visited by such notable figures as Burney, Mozart and Casanova, he was lonely in his old age, having outlived many of his friends and former colleagues. Úspěch filmu vyvolal renesanci zájmu nejen o Farinelliho, ale o barokní operu vůbec.
V této opeře je ovšem part Farinelliho zpíván tenorem. na španělský trůn (1759) se vrátil do Itálie a zbytek života prožil v Bologni se svým přítelem Pietrem Metastasiem. Farinelli's immediate heir, his nephew Matteo Pisani, sold Farinelli's house in 1798. Farinelli (Andria, 1705. január 24. Party Farinelliho, které žádný ze současných zpěváků není schopen uzpívat, byly v tomto filmu rozděleny mezi kontratenora D. L. Ragina a sopranistku Ewu Mallas-Godlewskou, sestříhány a poté počítačově zpracovány, aby bylo dosaženo jednotné barvy hlasu. "Son qual nave," on the other hand, was composed by Riccardo Broschi as a special showpiece for his brother's virtuosic skills. Torrione, M., «Decorados teatrales para el Coliseo del Buen Retiro en tiempos de Fernando VI. Both the cognoscenti and the public adored him. Torrione, M., «Fiesta y teatro musical en el reinado de Felipe V e Isabel de Farnesio: Farinelli, artífice de una resurrección». On 15 July he left for Spain, arriving about a month later. One distinguished friend of his latter years was the music historian, Giovanni Battista (known as "Padre") Martini. Farinelli eli Carlo Broschi (24. tammikuuta 1705 Andria – 15. heinäkuuta 1782 Bologna) oli kuuluisa italialainen kastraattilaulaja, joka myös oli taitava kosketinsoittimien ja viola d’amoren soittaja.

Maria Carlotta bequeathed many of Farinelli's letters to Bologna's University Library and was buried in the same grave as Farinelli in 1850. Stránka byla naposledy editována 22. Pod vedením Nicola Porpory získal Farinelli hlas podmanivé krásy.

this opera was premiered in 1734; Farinelli's ornaments and cadenzas may date from 1737 (according to Haböck), or from as late as 1753, when these ornamented versions were sent by him to the Empress Maria Theresa, in a manuscript now preserved in the National Library of Austria in Vienna [A-Wn 19111], and printed by Haböck on pp 140 ff of, Giovanni Battista (known as "Padre") Martini, "Sam Wanamaker Playhouse Winter 2014/15 Season", http://farinelliandthekingbroadway.com/index.php, The New Grove Dictionary of Music and Musicians, Castration Affected Skeleton Of Famous Opera Singer Farinelli, Archaeologists Say, https://en.wikipedia.org/w/index.php?title=Farinelli&oldid=980278919, Articles containing Italian-language text, Articles with unsourced statements from March 2020, Articles containing Spanish-language text, Articles with unsourced statements from June 2016, Wikipedia articles incorporating the Cite Grove template, Wikipedia articles incorporating the Cite Grove template without a link parameter, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, The restoration of Farinelli's grave in the Certosa of Bologna (2000), The inauguration of a City Park in the name of Farinelli, near the site where the singer lived in Bologna (2002), The disinterment of Farinelli at the Certosa of Bologna (2006).
Unlike many castrati, who came from poor families, Farinelli was well-to-do, and was related to minor nobility on both sides of the family. However, the surviving remains included his jawbone, several teeth, parts of his skull and almost all of the major bones.

Byl pohřben v Bologni, a to na hřbitově 'Cimitero monumentale della Certosa di Bologna'.

Son père, Salvatore, détient des charges administratives féodales ; c'est un passionné de musique qui décide de faire de ses deux fils des artistes ; l'aîné, Riccardo, comme compositeur, et le cadet, Carlo, comme chanteur. (1746) byl jmenován ředitelem divadel v Madridu a Aranjuez. More recent operas include Matteo d'Amico's Farinelli, la voce perduta (1996) and Farinelli, oder die Macht des Gesanges by Siegfried Matthus (1998).

Loaded with riches and honors, he was so famous and so formidable as a performer that his rival and friend, the castrato Gioacchino Conti ("Gizziello") is said to have fainted away from sheer despondency on hearing him sing. Of "Per questo dolce amplesso," Charles Burney reports: "Senesino had the part of a furious tyrant, and Farinelli that of an unfortunate hero in chains; but in the course of the first air, the captive so softened the heart of the tyrant, that Senesino, forgetting his stage-character, ran to Farinelli and embraced him in his own."

Károly német-római császár, magyar és cseh király tanácsára a bensőséges, drámai éneket is tökéletesen elsajátította. This account, however, cannot be verified, since no surviving work which Farinelli is known to have performed contains an aria for soprano with trumpet obbligato. fragmento de la pelicula farinelli - il castrato donde farinelli caslo broschi le gana a una trompeta en plena plaza.

Za jeho pozoruhodnou barvu hlasu, výraz, techniku zpěvu, hlasový rozsah, který prý činil tři a půl oktávy (údajně od malého a do D3),[2] i přitažlivý zjev, byl nazýván Králem pěvců. Poté byli intenzivně až po dobu deseti let vzděláváni v hudební historii, kompozici, hře na cembalo a pochopitelně školeni v pěvecké technice. He also had a collection of keyboard instruments in which he took great delight, especially a piano made at Florence in 1730 (called in the will cembalo a martellini), and violins by Stradivarius and Amati.

In 1735 Farinelli and Senesino also appeared in Nicola Porpora's Polifemo. On 25 August 1737, Farinelli was named chamber musician to the king, and criado familiar, or servant to the royal family. Na jedno nadechnutí prý dovedl vyzpívat 150 tónů a byl schopen držet tón déle než jednu minutu. The movie is largely fictionalized and bears little resemblance to the historical Farinelli.

V následující několika letech zpíval na všech hlavních evropských dvorech. Farinelli not only sang, but like most musicians of his time, was a competent harpsichordist. In old age, he learned to play the viola d'amore. Although much courted by diplomats, Farinelli seems to have kept out of politics.

After further seasons in Italy, and another visit to Vienna, during which he sang in oratorios in the Imperial chapel, Farinelli came to London in 1734.

As one contemporary observer remarked: "within these two years we have seen even Farinelli sing to an audience of five-and-thirty pounds."

Undaunted, Bernacchi repeated every trill, roulade, and cadenza of his young rival, but performing all of them even more exquisitely, and adding variations of his own. The next day the musicologist Carlo Vitali of the Farinelli Study Centre stated that the major bones were "long and sturdy, which would correspond with Farinelli's official portraits, as well as the castrato's reputation for being unusually tall."

(It later became the headquarters of a sugar factory, and was demolished in 1949, having been much damaged by bombardment during World War II.) Ve věku šesti až sedmi let podstoupil kastraci. Krátce po nástupu krále Ferdinanda VI. Farinelli, admitting defeat, entreated Bernacchi to give him instruction in grazie sopraffine ("ultra-refined graces"); Bernacchi agreed.