Eighteenth-century tourists flocked to Venice's four renowned institutions for orphans and foundlings, the Ospedali Grandi, to experience music-making by the infamous figlie del coro.  Many penned accounts praising the women's virtuosic mastery of demanding instrumental and vocal repertoire, declaring them among the best musicians in Western Europe.  The women performed behind a lattice screen, which left them shrouded in mystery and resulted in fantastical accounts that imagined them to be beautiful, young virgins.  In a rare first-hand meeting with the figlie del coro in 1743, Jean-Jacques Rousseau was horrified to discover that the musicians serenading him were mature women aged 21-60, and many were physically deformed, scarred from illness, and otherwise unattractive to him.  Struggling to rectify the women's enchanting musical performance with their overwhelming physical "flaws," Rousseau eventually resolved that the women's intellectual wit and musical prowess rendered them sufficiently attractive to him. This presentation theorizes eighteenth-century female "ugliness" as a social disability and evaluates the complex intersection of physical disability with female musical virtuosity and enfreakment.