in:
Feministische Studien : Zeitschrift für interdisziplinäre Frauen- und Geschlechterforschung
Stuttgart:
2004
,
263 - 276 S.
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Weitere Informationen
| Einrichtung: | Ariadne | Wien |
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| Verfasst von: | Rauscher, Susanne |
| In: | Feministische Studien : Zeitschrift für interdisziplinäre Frauen- und Geschlechterforschung |
| Jahr: | 2004 |
| Sprache: | Deutsch |
| Beschreibung: | |
| In this essay the author describes the genesis, transformation and function of cross-dressing in the history of the opera. Whereas in baroque times the woman in trousers — together with the castrato — was meant to meet the audience's need for high-pitched, angelic voices, the »real« breeches part in post-baroque operas followed also other theatrical purposes. These purposes are examined in three cases: Mozart's Cherubino (from Le Nozze di Figaro) — the first breeches part that was designed exclusively for a female singer — and Richard Strauss' »young and romantic men" Octavian (from The Rosenkavalier) as well as the Composer (from Ariadne auf Naxos) | |
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