The Sexed or Unsexed Voice on the Lyrical Stage in 18th-c. London
It is not the least of paradoxes that the castrati that performed in Italian opera both in Italy in the 17th century and on the London stage after the Restoration should have acted the parts of manly seducers, mighty kings or warriors in spite of their high-pitched, ‘feminine’ voices. Roger Freitas...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2013-06-01
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| Series: | Sillages Critiques |
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| Online Access: | http://journals.openedition.org/sillagescritiques/2894 |