A Skeptical Overview of Women/ Men as Defined In Operatic Context Opera is perhaps one of the most and largely constrained

areas of music with regards to gender. This is evident from the intricate repertoire choices, and the detailed search musicians conduct for the “ideal” voice of that specific character of interest. People generally regard synthesizing these roles into these fixed voice registers as a practical compositional approach where writing operatic roles can be put into system. However, in cases where the music is not immediately adaptable to gender, there is most definitely one or more issue(s) waiting to be resolved in the course of drama. When operatic music is analyzed with elements of register and gender principles in mind, and not presented simply as a “song” fitting the women/ men performers‟ registers, there may now be a necessity to induce a change in the point of view altogether. Within these changes, there may be possible (or even necessary) points of „re-evaluation‟ and „slide‟s: Some of these roles, although written for women originally, may be sung by countertenors; and by the same token, some of the „man‟ roles are sang by women, thus introducing the concept of “trouser roles”. This paper intends to work specifically in the field of classical opera, firstly discussing worldwide literary examples where the gender balance gets worked out as plot unfolds, then introducing relatively unknown sides of “trouser roles”, which can alternatively be seen as an inevitable counterpart of the uncontinued castrato tradition, now evolved into a completely different phenomenon, with the advent of modern opera. Keywords: Opera, lied, trouser roles, register, soprano, alto, countertenor, castrato

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