The early 19th century was a period of acute transition in operatic tradition and style, when time-honored 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 skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.
Publisher: Indiana University Press
Number of pages: 248
Weight: 404 g
Dimensions: 229 x 152 x 18 mm
Voicing Gender is essential reading for those hoping to gain a deeper understanding of the bel canto tradition. Andre's meticulous research, clear prose, and insightful commentary will increase our appreciation of a wide variety of works. * OPERA JOURNAL *
In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, Andre . . . offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine. . . . Recommended. * Choice *
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