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."
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