Voicing Gender: Castrati, Travesti, and the Second Woman in Early-nineteenth-century Italian Opera

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Indiana University Press, 2006 - Music - 230 pages
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The early 19th century was a period of acute transition in operatic tradition and style, when time-honoured practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine--and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi Andre skilfully traces the development of female characters in these first decades of the century,
 

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Contents

The Castrato in the Nineteenth Century
16
The Crusader the Castrato and the Disguised
51
Queens Hybridity and the Diva
89
From Hero to Pageboy
103
Voices behind the Romantic
129
Looking Ahead to Risorgimento Heroism
171
Bibliography
213
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