Why is Schubert's 'Ave Maria' Often Sung by a Young Boy?

Maurice St Jacques’ profound love for the operatic and sacred works of Franz Schubert inspired The Toronto Operetta Choir’s chamber work, Ave Maria, which he wrote and among the participating young performers was a boy soprano, Matthew Carnevale. This raises a fascinating question: Why is Schubert's 'Ave Maria' so popular among young boys, when its history involves the traditional use of female voices by men in the past, and especially by young boys?

The Historical Context

During the period when Schubert composed 'Ave Maria,' performance by women was considered unseemly in many European societies. This cultural and societal preference led to a practice where soprano, alto, and counter tenor parts were typically sung by either young boys or by castrated men. The latter were known as castrati and were particularly prevalent in Italian opera during the Baroque and early Romantic eras. However, the use of young boys for vocal roles was not confined solely to Italy. In other parts of Europe, including Austria and Germany, young boys provided the most elegant and ethereal voices for sacred and secular music. It was common for both the female parts of plays and operas to be staffed with female impersonators, typically young boys.

The Treble Voice and Vocal Technique

Young male voices are particularly suited to the high-pitched and delicate nature of the Ave Maria. The pre-pubescent stage, before and during the onset of puberty, is often associated with a natural clarity and purity of tone, a phenomenon often attributed to the temporary preservation of the vocal cords in the boy's physiology. The larynx has not yet descended, allowing for a more mature and clear sound without the weight and coloring that typically come with the onset of a full adult voice. This unique timbre contributes to the enchanting quality of a young boy's voice when singing 'Ave Maria,' as demonstrated in the performances by The Toronto Operetta Choir.

Artistic Interpretation and Modern Performances

As the world of classical music has evolved, the use of boy sopranos for parts originally intended for adult women has persisted as a cherished tradition. It stands as a reminder of historical vocal practices and the enduring appeal of youthful vocal purity and grace. Contemporary interpretations often highlight the beauty and vulnerability of childlike voices, which can create a profound emotional impact on listeners.

In modern performances, the boy soprano's voice is often interpreted as a symbol of innocence, heavenly purity, and spiritual authenticity. The unique qualities of their voice are then used to add a layer of emotional depth and spiritual exaltation to the Ave Maria's lyrics, which are deeply religious in nature.

Contemporary Implications

Today, while the practice of employing young boys for certain vocal roles continues, there is an increasing awareness of the ethical and practical considerations associated with boy sopranos. In recent years, the use of adult countertenors and women singers has become more common due to the changing societal attitudes towards the use of child performers. This shift is not only about ethics but also about the trend towards more diverse and inclusive interpretations of classical music.

Despite these changes, however, Schubert's Ave Maria remains a piece that captures the essence of youthful voice in a way that continues to resonate with audiences, young and old, reminding us of a time when voice was not just a tool, but a form of art that transcended time and gender.

Conclusion

In conclusion, Schubert's 'Ave Maria' is often sung by a young boy for historical, musical, and artistic reasons. The historical context of the time reveals the cultural norms that have long framed the use of young boys for certain vocal roles, and the unique vocal technique of pre-pubescent boys adds to the emotional and spiritual power of the piece. Today, while the practice continues, it remains a testament to the enduring beauty and versatility of the human voice.

Keywords: Schubert's Ave Maria, early music, vocal technique, boy sopranos, historical context.