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Since the eighteenth century, the one-to-one singing lesson has
been the most common method of delivery. The scenario allows the
teacher to familiarise and individualise the lesson to suit the
needs of their student; however, it can also lead to speculation
about what is taught. More troubling is the heightened risk of
gossip and rumour with the private space generating speculation
about the student–teacher relationship. Venanzio Rauzzini
(1746–1810), an Italian castrato living in England who became a
highly sought-after singing master, was particularly susceptible
since his students tended to be women, whose moral character was
under more scrutiny than their male counterparts. Even so in 1792,
The Bath Chronicle proclaimed the Italian castrato: 'the father of
a new style in English singing'. Branding Rauzzini as a founder of
an English style was not an error, but indicative of deep-seated
anxieties about the Italian invasion on England’s musical
culture. This book places teaching at the centre of the
socio-historical narrative and provides unique insight into musical
culture. Using a microhistory approach, this study is the first to
focus in on the impact of teaching and casts new light on issues of
celebrity culture, gender and nationalism in Georgian England.
Since the eighteenth century, the one-to-one singing lesson has
been the most common method of delivery. The scenario allows the
teacher to familiarise and individualise the lesson to suit the
needs of their student; however, it can also lead to speculation
about what is taught. More troubling is the heightened risk of
gossip and rumour with the private space generating speculation
about the student-teacher relationship. Venanzio Rauzzini
(1746-1810), an Italian castrato living in England who became a
highly sought-after singing master, was particularly susceptible
since his students tended to be women, whose moral character was
under more scrutiny than their male counterparts. Even so in 1792,
The Bath Chronicle proclaimed the Italian castrato: 'the father of
a new style in English singing'. Branding Rauzzini as a founder of
an English style was not an error, but indicative of deep-seated
anxieties about the Italian invasion on England's musical culture.
This book places teaching at the centre of the socio-historical
narrative and provides unique insight into musical culture. Using a
microhistory approach, this study is the first to focus in on the
impact of teaching and casts new light on issues of celebrity
culture, gender and nationalism in Georgian England.
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