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The Sexed or Unsexed Voice on the Lyrical Stage in 18th-c. London
Published 2013-06-01Subjects: Get full text
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2
Les implications du travestissement dans I Capuleti e i Montecchi de Vincenzo Bellini
Published 2004-05-01“…According to baroque Italian operatic conventions, the part of the lover should have been performed by a castrato so that his voice could merge perfectly with that of the soprano heroine. …”
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