| Abstrakt: |
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). |
