New York Post : German nuns were ‘pimps’ for sick priests, says sexual abuse victim

Despite the immense popularity of the castrati during the Baroque and Classical periods, changing musical tastes—as well as the gradual inclusion of women on the dramatic and musical stage—caused them to fall out of favor with audiences by the late eighteenth century. The “heroic tenor” became the preferred singing voice for leading male roles in the opera, and composers ceased writing music for the castrati. However, only the most skilled castrati ever worked in opera, as most of them were produced and employed for the purposes of singing in Catholic institutions. A more serious threat to the future of the castrati was the French Enlightenment, which considered the practice of forced child castration to be a perversion of the duty for parents to care for and protect their young. Rousseau, for example, accused the fathers of boys sent to be castrated of being little better than pimps, deploring the existence of “fathers so cruel as to sacrifice nature to fortune, and . . . submit their children to this operation that they may gratify the pleasure of the voluptuous and the inhuman.” Aside from the savagery inherent in the mass mutilation of children, the Enlightenment philosophes also believed that the castrati were “against nature” because they had been deprived of their manhood in every sense of the word and socialized to exist in a sort of sexual no man’s land between male and female. Noticing the sexual dimorphism that existed in many nonhuman animal species, Enlightenment thinkers regarded the sexually ambiguous castrati to be a violation of the natural order that seemed to decree a clear delineation between the sexes.

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New York Post : German nuns were ‘pimps’ for sick priests, says sexual abuse victim.