By 1574, there were castrati in the Ducal court chapel at Munich, where the Kapellmeister (music director) was the famous Orlando di Lasso. In 1589, by the bull "Cum pro nostro pastorali munere", Pope Sixtus V re-organised the choir of St Peter's, Rome specifically to include castrati. Thus the castrati came to supplant both boys (whose voices broke after only a few years) and falsettists (whose voices were weaker and less reliable) from the top line in such choirs. Women were banned by the Pauline dictum "mulieres in ecclesiis taceant" ("let women keep silent in the churches"; see I Corinthians, ch. 14, v. 34). Although the castrato (or musico) predates opera, there is some evidence that castrati had parts in the earliest operas. In the first performance of Monteverdi's "Orfeo" (1607), for example, they played subsidiary roles, including Speranza and (possibly) that of Euridice. Although female roles were performed by castrati in some of the papal states, this was increasingly rare; by 1680, they had supplanted "normal" male voices in lead roles, and retained their position as "primo uomo" for about a hundred years; an Italian opera not featuring at least one renowned castrato in a lead part would be doomed to fail. Because of the popularity of Italian opera throughout 18th-century Europe (except France), singers such as Ferri, Farinelli, Senesino and Pacchierotti became the first operatic superstars, earning enormous fees and hysterical public adulation. The strictly hierarchical organisation of "opera seria" favoured their high voices as symbols of heroic virtue, though they were frequently mocked for their strange appearance and bad acting. In his 1755 "Reflections upon theatrical expression in tragedy", Roger Pickering wrote: Farinelli drew every Body to the Haymarket. What a Pipe! What Modulation! What Extasy to the Ear! But, Heavens! What Clumsiness! What Stupidity! What Offence to the Eye! Reader, if of the City, thou mayest probably have seen in the Fields of Islington or Mile-End or, If thou art in the environs of St James', thou must have observed in the Park with what Ease and Agility a cow, heavy with calf, has rose up at the command of the Milk-woman's foot: thus from the mossy bank sprang the DIVINE FARINELLI.