768:
137:
807:
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418:, when women dancers had long been taking these roles elsewhere in Italy. Abbé Jérôme Richard who travelled to Rome in 1762 wrote: "Female Dancers are not permitted on the stages in Rome. They substitute for them boys dressed as women and there is also a police ordinance that decreed they wear black bloomers." Another French traveller that year, Joseph-Thomas, comte d'Espinchal, asked himself: "What impression can one have of ballet in which the prima ballerina is a young man in disguise with artificial feminine curves?"
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in 1660 women started appearing on the
English stage, both in the female roles that in Shakespeare's day had been portrayed by men and boys, and in male roles. It has been estimated that of the 375 plays produced in London between 1660 and 1700, nearly a quarter contained one or more roles for
2643:
572:, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in travesty roles ... the plays themselves did not normally tend to indecency." One of the specialists in these roles was
413:
court ballet and has continued into more modern times, although primarily restricted to comic or malevolent female characters. The use of male dancers for all the female roles in a ballet persisted well into the 18th century in the
767:
452:
later continued the practice of casting male dancers as the stepsisters in his own choreography of the ballet. Other female ballet characters traditionally performed by male dancers are Old Madge, the village sorceress in
283:
were both sung by castrati. However, by 1680 the castrati had become the predominant singers for leading male roles as well. The use of castrati for both male and female roles was particularly strong in the
291:
An exception to this practice was in 17th- and 18th-century French opera where it was traditional to use uncastrated male voices both for the hero and for malevolent female divinities and spirits. In
1248:
265:, adult males with a female singing voice (usually produced by castration before puberty), appeared in the earliest operas – initially in female roles. In the first performance of
649:. In 20th-century opera, composers continued to use women to sing the roles of young men, when they felt the mature tenor voice sounded wrong for the part. One notable example was
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roles at the Paris Opera, Thérèse, who was very tall by the standards of the day, danced them more frequently, often partnering Fanny as her leading man. The French ballerina
784:
875:
2765:
136:
806:
224:, continues the practice of casting men in female Shakespearean roles. Toby Cockerell played Katherine of France in the theatre's opening production of
190:
in 1660, women began to appear on the
English stage, although some female roles continued to be played by boys and young men, including romantic leads.
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68:
roles continued to be used in several types of context even after actresses became accepted on the stage. The popular
British theatrical form of the
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1159:'s stages too for several decades in the second half of the 18th century. The prohibition, however, was not generally observed throughout the
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and tenors. The remaining female roles in both operas were sung by women. The title role of the vain but ugly marsh nymph in Rameau's
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1633:
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According to Speake and LaFlaur (1999), the phrase itself is not recorded in French, and derives from the misinterpretation of
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431:, created the role of the evil fairy Carabosse, although the role has subsequently been danced by both men and women.
250:, where there is at least one humorous (and usually older) female character traditionally played by a male actor, the
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1119:) and was occasionally disapplied in Rome too, in particular from 1669 (during the papacy of erstwhile librettist
2533:
379:(1998), all female roles were sung by men, with the title roles of the three sisters performed by countertenors.
1549:
Brillarelli, Livia (1995). Cecchetti A Ballet
Dynasty. Toronto: Dance Collection Danse Educational Publications.
1727:
1509:
1143:
1042:
885:
1831:
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643:, sometimes because a castrato was not available, or to portray a boy or very young man, such as Cherubino in
152:—although not elsewhere in Europe—women were conventionally portrayed by male actors (usually adolescents) in
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Female roles in opera sung by men can still be found, although they are not common. The role of the witch in
196:
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1661:, Vol. 17, No. 2 (Autumn, 1985), pp. 35–40. (Also reprinted in Ann Dils and Ann Cooper Albright (eds)
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1614:
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17:
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Anne
Hermann (1989). "Travesty and Transgression: Transvestism in Shakespeare, Brecht, and Churchill".
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1884:
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860:
2962:
2633:
1127:, who was a fan of opera . The ban remained in force until 1798 when the French invaded Rome and a
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686:'s 'leading man', a practice which was to last well into the 20th century in France. Although both
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For social reasons, female roles were played by boys or men in many early forms of theatre, and
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1775:, eds. Gelli, Piero and Poletti, Filippo. Milan: Baldini Castoldi Dalai, pp. 324–325.
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The word means "disguised" in French. Depending on sources, the term may be given as
922:(a theatrical form where female roles were played by men from as early as the 1560s)
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is thought to have created many of
Shakespeare's principal female roles, as well as
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1978:
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The grotesque dancer on the eighteenth-century stage: Gennaro Magri and his world
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120:", although French sources from the mid-19th century have used the term, e.g.
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2301:
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2161:
2105:
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1918:
1657:
Garafola, Lynn (1985), "The
Travesty Dancer in Nineteenth-Century Ballet" in
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who created the title roles in numerous burlesques and pantomimes, including
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voice) while the female spirit of hatred (La Haine) was sung by a tenor. In
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973:(a Japanese musical theatre troupe in which all roles are played by women)
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1968:
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Until the late 17th century in
England and the late 18th century in the
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From 1830 to 1850, female ballet dancers were increasingly seen in the
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because the presence of actual women on stage was considered immoral.
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See, for example Duron (2008) p. 231 and Coste (2004) pp. 26 and 141
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Choreography & Narrative: Ballet's staging of story and desire
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was proclaimed (Kantner, Leopold M, and
Pachovsky, Angela (1998).
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in operas became increasingly common in the early 19th century as
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2638:
2438:
2411:
2406:
2376:
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1758:
Ballet in
Western Culture: A History of Its Origins and Evolution
1413:
Information "Nellie Farren (1848–1904) English burlesque actress"
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482:
27:
Portrayal of a stage character by a performer of a different sex
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2019:
2004:
1535:
Blackmer, Corinne E. and Smith, Patricia Juliana (eds) (1995),
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128:(1868), and have continued the practice into the 21st century.
58:
40:
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Opera in the Tropics. Music and Theater in Early Modern Brazil
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1900:
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in the young masculine roles. For example, the title role of
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generally included several breeches roles. According to the
306:
50:
1688:
Harbin, Billy J., Marra, Kim and Schanke, Robert A. (2005).
1107:
in 1588. It was never legally enforceable in the Legations (
448:
and Ashton himself danced the roles of the two stepsisters.
323:) was sung by an haute-contre, while the roles of the three
2241:
2146:
2080:
1809:
The Oxford Essential Dictionary of Foreign Terms in English
531:'s play and went on to play the role over 1,500 times; and
1167:
and occasionally in Lisbon itself (Rogério Budasz (2019).
409:
The portrayal of women by male dancers was very common in
1664:
Moving History / Dancing Cultures: A Dance History Reader
1052:
602:
is traditionally played by an actress in boy's clothes.
631:
was specifically written for a female singer. However,
114:
Oxford Essential Dictionary of Foreign Terms in English
2679:
2608:
2581:
1722:
The First English Actresses: Women and Drama 1660–1700
497:
Amongst the 19th-century actresses who made a mark in
194:, whose roles included the title role in Ben Jonson's
1667:, Wesleyan University Press, 2001, pp. 210–216.
1771:
Moiraghi, Marco (2007), 'Dissoluto assolto, Il', in
1103:
The ban on women performing on stage was imposed by
989:
1214:"Audience plays its part in Shakespeare's wooden O"
1476:
1422:at Footlight Notes, 2003, accessed 8 February 2011
1016:(2). The Johns Hopkins University Press: 133–154.
387:, which incorporates story elements from Mozart's
116:explains the origin of the latter term as "pseudo-
1133:6: La Cappella musicale Pontificia nell'Ottocento
613:singers went out of fashion and were replaced by
505:, who portrayed Smike in the stage adaptation of
220:theatre, a modern reconstruction of the original
88:, there were usually one or more breeches roles.
2929:
1399:. Oxford Music Online, accessed 3 February 2011
213:, was one of the last of the era's boy players.
2489:Bibliography of works on wartime cross-dressing
1529:, Volume 2 (1876). Librairie des bibliophiles.
943:(male actors who play female roles in Japanese
246:roles for men are still to be found in British
80:played by a young woman — and also one or more
1099:
1097:
61:performed by a performer of the opposite sex.
2599:
2454:
1885:
1171:. New York: Oxford University Press; p. 238.
635:mezzo-sopranos had been used earlier by both
1537:En Travesti: Women, Gender Subversion, Opera
1511:Ballet & Modern Dance: A concise history
1255:, 14 December 2005, accessed 7 February 2011
1007:
1846:
1526:Bibliothèque musicale du Théâtre de l'opéra
1483:. New Haven, Conn.: Yale University Press.
1094:
1058:
773:Grigory Riabtzev (left) as Widow Simone in
653:, who used a mezzo-soprano for Octavian in
234:played Cleopatra in the 1999 production of
122:Bibliothèque musicale du Théâtre de l'opéra
2539:Street Transvestite Action Revolutionaries
2461:
2447:
1892:
1878:
1586:: CS1 maint: location missing publisher (
2622:Contemporary organizations and gatherings
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1791:The Changing Room: Sex, Drag and Theatre
1474:
1376:
1296:(work details) (in French and English).
472:
135:
31:
1691:The Gay & Lesbian Theatrical Legacy
1367:Harbin, Marra, and Schanke (2005) p. 15
1327:
1325:
1195:, Baltimore, Penguin, 1964; pp. 114–15.
569:Grove Dictionary of Music and Musicians
14:
2930:
1552:
995:
468:
144:caricatured in one of his female roles
131:
2442:
1873:
1331:quoted in Harris-Warrick (2005) p. 38
910:Cross-dressing in film and television
72:traditionally contains a role for a "
1807:and LaFlaur, Mark, "en travesti" in
1597:La folie sur scène: Paris 1900/1968
1322:
955:a film about the advent of women in
1833:Ballet Dancers in Career Transition
1710:. Univiversity of Wisconsin Press.
799:The Alcaid or The Secrets of Office
698:, who created the role of Franz in
24:
2880:List of transgender-related topics
2468:
1514:, 2nd edition. Princeton Book Co.
1479:Sarah: The Life of Sarah Bernhardt
549:and once played the title role in
25:
2974:
1850:; West, Ewan (1992). "travesti".
1683:A Shakespeare Companion 1564-1964
1563:The New Grove Dictionary of Opera
1193:A Shakespeare Companion 1564-1964
1123:) to 1676, at the instigation of
905:Cross-dressing in music and opera
704:, was particularly known for her
682:, and cavaliers, and even as the
605:The practice of women performing
370:. In the premiere performance of
2910:
2909:
2898:
2885:List of transgender publications
1811:, Oxford University Press, 1999.
1704:Harris-Warrick, Rebecca (2005).
1694:, University of Michigan Press.
874:
859:
838:
823:
805:
783:
766:
748:
718:
301:the hero (Renaud) was sung by a
49:is a theatrical character in an
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1198:
845:Joslyn Rechter as Cherubino in
366:'s 2009 production directed by
1852:The Oxford Dictionary of Opera
1732:The Oxford Dictionary of Music
1594:Coste, Martine Agathe (2004).
1468:
1182:
1149:
1135:. Rome: Hortus Musicus; p. 24
1085:
1064:
1047:The Oxford Dictionary of Music
1036:
1001:
690:and her sister Thérèse danced
421:In the original production of
13:
1:
2818:Social construction of gender
2813:Causes of gender incongruence
1817:British Pantomime Performance
1724:, Cambridge University Press.
1539:, Columbia University Press.
982:
725:
354:was originally written for a
341:is also for an haute-contre.
159:
2591:
2534:Trousers as women's clothing
1636:. Indiana University Press.
1632:Foster, Susan Leigh (1998).
959:, threatening the career of
527:in the American premiere of
358:, but was sung by the tenor
91:
7:
2680:
2609:
2582:
1788:Senelick, Laurence (2000).
898:
591:Ruy Blas and the Blasé Roué
519:'s play based on his life;
494:actresses dressed as men.
404:
257:
188:Restoration of the monarchy
10:
2979:
1773:Dizionario dell'opera 2008
1613:Duron, Jean (ed.) (2008).
1431:Taylor (2007) pp. 117 and
963:, one of the last English
711:
535:, who created the role of
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2420:
2139:
2073:
1997:
1911:
1616:Cadmus et Hermione (1673)
1475:Gottlieb, Robert (2010).
1340:Brillarelli (1995) p. 31.
1125:Queen Christina of Sweden
491:Restoration of Charles II
438:'s 1948 choreography of
126:La revue des deux mondes
2634:Kottankulangara Festival
1746:La revue des deux mondes
1720:Howe, Elizabeth (1992).
1249:"Panto's merriest widow"
833:in one of her male roles
813:Sarah Louisa Fairbrother
459:and the Widow Simone in
427:in 1890, a male dancer,
2834:Lists of cross-dressers
2725:Hip and buttock padding
2705:Female urination device
1814:Taylor, Millie (2007).
1556:(1992). "Travesty". In
1508:Anderson, Jack (1992).
1418:12 October 2009 at the
1401:(subscription required)
1155:Women were banned from
1059:Warrack & West 1992
957:Restoration era theater
2839:Wartime cross-dressers
2751:In film and television
2600:
1659:Dance Research Journal
1648:Trouser Roles in Opera
1646:Gallo, Denise (2006).
1600:. Editions Publibook.
1461:Anderson (1992) p. 257
1443:Garafola (1985) p. 35.
1264:Senelick (2000) p. 177
852:The Marriage of Figaro
646:The Marriage of Figaro
486:
145:
43:
2797:Transvestic fetishism
2387:Stile rappresentativo
1830:Upper, Nancy (2004).
537:Napoleon II of France
476:
275:in 1607 the roles of
139:
35:
2720:Cleavage enhancement
1749:, Volume 69 (1868).
1685:, Baltimore, Penguin
1652:The Siege of Corinth
1619:. Editions Mardaga.
1452:Foster (1998) p. 221
1278:"Sweet and Low-Down"
891:Little Jack Sheppard
659:and the Composer in
585:Little Jack Sheppard
385:Il dissoluto assolto
237:Antony and Cleopatra
140:The famous castrato
2844:List of drag queens
2660:Crossplay (cosplay)
2562:Theatrical travesti
2549:Cross-gender acting
2519:Cross dressing ball
2060:Tragédie en musique
1929:Concert performance
1820:. Intellect Books.
1755:Lee, Carol (2002).
1232:"Meet Mr Cleopatra"
1078:of the French verb
915:Cross-gender acting
776:La Fille Mal Gardée
469:Women in male roles
462:La fille mal gardée
424:The Sleeping Beauty
397:in the role of the
316:Hippolyte et Aricie
218:Shakespeare's Globe
132:Men in female roles
86:Victorian burlesque
2948:History of theatre
2849:List of drag kings
2766:In animated series
2761:In music and opera
2693:Passing techniques
2392:Tenore contraltino
1654:, Baltimore Opera.
1397:Grove Music Online
1349:Upper (2004) p. 66
1274:Metropolitan Opera
1204:Howe (1992) p. 25.
920:Commedia dell'arte
564:musical burlesques
487:
364:Metropolitan Opera
210:The Maid's Tragedy
146:
44:
2953:Opera terminology
2925:
2924:
2710:Packing (phallus)
2653:Subcultural slang
2504:Womanless wedding
2436:
2435:
1781:978-88-6073-184-5
1673:978-0-8195-6413-9
1582:cite encyclopedia
1490:978-0-300-19259-9
1238:, 27 January 1999
1177:978-0-19-021582-8
1161:Portuguese Empire
977:Womanless wedding
866:Euan McIver as a
662:Ariadne auf Naxos
656:Der Rosenkavalier
508:Nicholas Nickleby
401:of Donna Elvira.
351:Hänsel und Gretel
16:(Redirected from
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2958:Stock characters
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2905:LGBTQ portal
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2775:Sexual practices
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888:as Blueskin) in
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503:Mary Anne Keeley
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360:Philip Langridge
331:were scored for
305:(a type of high
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2432:
2416:
2367:Soprano sfogato
2135:
2086:Gesamtkunstwerk
2069:
1993:
1907:
1898:
1868:
1862:
1783:
1750:
1679:Halliday, F. E.
1650:, Study Guide:
1627:
1608:
1579:
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1471:
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1420:Wayback Machine
1410:
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1389:Schwandt, Erich
1387:
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1358:See Howe (1992)
1357:
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1199:
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1136:
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1095:
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1086:
1076:past participle
1069:
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1057:
1053:
1041:
1037:
1022:10.2307/3207855
1010:Theatre Journal
1006:
1002:
994:
990:
985:
961:Edward Kynaston
901:
894:
879:
870:
864:
855:
843:
834:
828:
819:
815:as Abdullah in
810:
801:
797:'s comic opera
788:
779:
771:
762:
753:
744:
743:
727:Pierre JĂ©lyotte
723:
714:
684:prima ballerina
671:corps de ballet
651:Richard Strauss
533:Sarah Bernhardt
511:and the robber
471:
446:Robert Helpmann
407:
260:
230:in 1997, while
192:Edward Kynaston
170:Alexander Cooke
162:
134:
94:
82:pantomime dames
37:Sarah Bernhardt
28:
23:
22:
15:
12:
11:
5:
2976:
2966:
2965:
2960:
2955:
2950:
2945:
2940:
2938:Cross-dressing
2923:
2922:
2920:
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2907:
2894:
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2700:Breast binding
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2572:Pantomime dame
2569:
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2545:
2544:
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2541:
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2526:
2521:
2516:
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2496:
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2470:Cross-dressing
2466:
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2159:
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2057:
2052:
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2037:
2032:
2027:
2022:
2017:
2015:Divertissement
2012:
2010:Coup de glotte
2007:
2001:
1999:
1995:
1994:
1992:
1991:
1986:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1946:
1944:Insertion aria
1941:
1936:
1931:
1926:
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1915:
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1874:
1867:
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1860:
1844:
1828:
1812:
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1786:
1769:
1753:
1742:
1734:, 985 pages,
1725:
1718:
1702:
1686:
1676:
1655:
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1592:
1572:
1554:Budden, Julian
1550:
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1206:
1197:
1189:F. E. Halliday
1181:
1148:
1129:Roman Republic
1093:
1084:
1063:
1061:, p. 716.
1051:
1035:
1000:
998:, p. 799.
987:
986:
984:
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980:
979:
974:
968:
948:
938:
933:
928:
926:Cross-dressing
923:
917:
912:
907:
900:
897:
896:
895:
884:as Jack (with
880:
873:
871:
868:pantomime dame
865:
858:
856:
844:
837:
835:
829:
822:
820:
811:
804:
802:
789:
782:
780:
772:
765:
763:
754:
747:
745:
724:
717:
713:
710:
708:performances.
696:Eugénie Fiocre
615:mezzo-sopranos
541:Edmond Rostand
479:Eugénie Fiocre
477:The ballerina
470:
467:
406:
403:
383:'s 2005 opera
348:'s 1890 opera
295:'s 1686 opera
259:
256:
252:pantomime dame
200:and Evadne in
161:
158:
133:
130:
93:
90:
26:
9:
6:
4:
3:
2:
2975:
2964:
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2756:In literature
2754:
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2629:Fantasia Fair
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2577:Principal boy
2575:
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2565:
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2557:Breeches role
2555:
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2509:Rebecca riots
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2302:Mezzo-soprano
2300:
2298:
2297:Messa di voce
2295:
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2109:
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2106:Literaturoper
2104:
2102:
2099:
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2096:Kapellmeister
2094:
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2018:
2016:
2013:
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1950:
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1919:Breeches role
1917:
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1914:
1910:
1905:
1902:
1895:
1890:
1888:
1883:
1881:
1876:
1875:
1872:
1863:
1861:0-19-869164-5
1857:
1853:
1849:
1848:Warrack, John
1845:
1843:
1842:0-7864-1819-2
1839:
1836:. McFarland.
1835:
1834:
1829:
1827:
1826:1-84150-174-3
1823:
1819:
1818:
1813:
1810:
1806:
1803:
1801:
1800:0-415-15986-5
1797:
1794:. Routledge.
1793:
1792:
1787:
1782:
1778:
1774:
1770:
1768:
1767:0-415-94257-8
1764:
1761:. Routledge.
1760:
1759:
1754:
1748:
1747:
1743:
1741:
1740:0-19-861459-4
1737:
1733:
1729:
1726:
1723:
1719:
1717:
1716:0-299-20354-9
1713:
1709:
1708:
1703:
1701:
1700:0-472-09858-6
1697:
1693:
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1687:
1684:
1680:
1677:
1674:
1670:
1666:
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1656:
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1649:
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1643:
1642:0-253-21216-2
1639:
1635:
1631:
1626:
1625:2-87009-984-3
1622:
1618:
1617:
1612:
1607:
1606:2-7483-0365-2
1603:
1599:
1598:
1593:
1589:
1583:
1575:
1573:0-333-73432-7
1569:
1565:
1564:
1559:
1558:Stanley Sadie
1555:
1551:
1548:
1546:
1545:0-231-10269-0
1542:
1538:
1534:
1528:
1527:
1523:
1521:
1520:0-87127-172-9
1517:
1513:
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1486:
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1473:
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1428:
1421:
1417:
1414:
1411:Culme, John.
1408:
1398:
1394:
1390:
1385:
1379:, p. 142
1378:
1377:Gottlieb 2010
1373:
1364:
1355:
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1328:
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1316:
1307:
1299:
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1292:Three Sisters
1285:
1279:
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1270:
1261:
1254:
1253:The Telegraph
1250:
1244:
1237:
1233:
1228:
1222:, 7 June 1997
1221:
1220:
1215:
1210:
1201:
1194:
1190:
1185:
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1174:
1170:
1166:
1163:—not even in
1162:
1158:
1152:
1145:
1141:
1134:
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1126:
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1118:
1114:
1110:
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1105:Pope Sixtus V
1100:
1098:
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1077:
1073:
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882:Nellie Farren
877:
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869:
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848:
841:
836:
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826:
821:
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791:Eliza Vestris
786:
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769:
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746:
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736:
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721:
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688:Fanny Elssler
685:
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638:
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629:
624:
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616:
612:
608:
603:
601:
600:Principal boy
597:
594:. In British
593:
592:
587:
586:
581:
580:
575:
574:Nellie Farren
571:
570:
565:
561:
560:Victorian era
556:
554:
553:
548:
547:
542:
538:
534:
530:
526:
523:, who played
522:
518:
514:
513:Jack Sheppard
510:
509:
504:
500:
495:
492:
484:
480:
475:
466:
464:
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458:
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451:
450:Ben Stevenson
447:
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396:
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386:
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368:Richard Jones
365:
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356:mezzo-soprano
353:
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222:Globe Theatre
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89:
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78:breeches role
75:
74:principal boy
71:
67:
62:
60:
56:
52:
48:
42:
38:
34:
30:
19:
2914:
2792:Petticoating
2787:Feminization
2715:Breast forms
2561:
2524:Casa Susanna
2494:Transvestism
2357:Solita forma
2237:Da capo aria
2131:Sprechgesang
2091:Kammersänger
2064:
2030:Haute-contre
1984:Sung-through
1851:
1832:
1816:
1808:
1790:
1784:(in Italian)
1772:
1757:
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1731:
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1336:
1315:
1306:
1294:(1996–1997)"
1291:
1284:
1269:
1260:
1252:
1243:
1227:
1217:
1209:
1200:
1192:
1184:
1168:
1151:
1137:(in Italian)
1132:
1087:
1082:) as a noun.
1079:
1071:
1066:
1054:
1046:
1038:
1013:
1009:
1003:
991:
952:Stage Beauty
950:
889:
850:
816:
798:
795:Isaac Nathan
793:as Felix in
774:
738:
705:
699:
691:
669:
667:
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626:
606:
604:
589:
583:
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488:
460:
454:
439:
433:
422:
420:
416:Papal States
408:
395:countertenor
390:Don Giovanni
388:
384:
374:
372:Péter Eötvös
349:
343:
336:
319:, the hero (
314:
303:haute-contre
296:
290:
286:Papal States
270:
261:
243:
242:
235:
232:Mark Rylance
225:
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208:
195:
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163:
150:Papal States
147:
125:
121:
113:
108:
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102:
101:
97:
95:
65:
63:
46:
45:
29:
2875:Transgender
2611:ShirabyĹŤshi
2337:Prima donna
2312:Opera seria
2232:Convenienze
2222:Comprimario
2212:Chiaroscuro
1974:Patter song
1969:Opera house
1924:Chest voice
1751:(in French)
1628:(in French)
1609:(in French)
1531:(in French)
1469:Works cited
1393:"Burlesque"
1247:See, e.g.,
996:Budden 1992
965:boy players
886:David James
817:Open Sesame
756:Maude Adams
733:Plataea in
674:portraying
607:en travesti
521:Maude Adams
501:roles were
456:La Sylphide
411:Renaissance
381:Azio Corghi
346:Humperdinck
186:. With the
109:en travesti
18:En travesti
2932:Categories
2514:Hybristica
2499:In wartime
2428:HovsĂĄngare
2347:Ritornello
2342:Recitative
2332:Portamento
2292:Melodramma
2267:Intermezzo
2262:Impresario
2252:Falsettone
2217:Coloratura
2045:Répétiteur
1939:Head voice
1566:. London.
1144:8888470247
1121:Clement IX
983:References
619:contraltos
485:circa 1860
441:Cinderella
393:, casts a
376:Tri sestry
281:Proserpina
267:Monteverdi
206:Fletcher's
178:Ben Jonson
166:boy player
160:In theatre
2682:Otokonoko
2529:Breeching
2402:Tessitura
2327:Pasticcio
2322:Passaggio
2257:Fioritura
2227:Contralto
2197:Cantabile
2187:Cabaletta
2167:Bel canto
2126:Spieloper
2121:Sitzprobe
2116:Singspiel
2111:Regieoper
2101:Leitmotif
2035:Intermède
2025:Entr'acte
1989:Surtitles
1959:Monodrama
1954:Melodrama
1949:Mad scene
1906:by origin
1499:813393485
1080:travestir
931:Drag show
849:'s opera
760:Peter Pan
737:'s opera
596:pantomime
525:Peter Pan
517:Buckstone
489:With the
399:mannequin
329:Tisiphone
321:Hippolyte
248:pantomime
216:London's
174:Agrippina
142:Farinelli
124:(1876),
92:Etymology
70:pantomime
2916:Category
2806:Theories
2675:En homme
2670:En femme
2584:Onnagata
2382:Stagione
2352:Sinfonia
2277:Libretto
2247:Falsetto
2207:Cavatina
2202:Castrato
2182:Burletta
2177:Brindisi
2065:Travesti
2040:Overture
1979:Prompter
1934:Duodrama
1730:(2006),
1681:(1964).
1416:Archived
1276:(2009).
1236:BBC News
1115:and the
1072:travesti
1045:(2006),
947:theatre)
941:Onnagata
899:See also
706:travesti
701:Coppélia
692:travesti
676:matadors
633:travesti
628:Tancredi
625:'s 1813
611:castrato
546:L'Aiglon
499:travesti
405:In dance
313:'s 1733
277:Eurydice
263:Castrati
258:In opera
244:Travesti
202:Beaumont
197:Epicoene
103:travesti
98:travesty
66:travesti
47:Travesti
2730:Tucking
2665:Passing
2639:Tri-Ess
2477:History
2412:Vibrato
2407:Verismo
2377:Squillo
2362:Soprano
2287:Maestro
2282:Licenza
2192:Cadenza
2172:Bravura
2140:Italian
2050:Roulade
1912:English
1560:(ed.).
1391:et al.
1117:Romagna
1113:Ferrara
1109:Bologna
1049:, p 899
1030:3207855
729:as the
712:Gallery
680:hussars
623:Rossini
558:In the
483:matador
362:in the
227:Henry V
2870:Femboy
2827:People
2782:Femdom
2593:Khawal
2372:Spinto
2307:Musico
2272:Legato
2157:Arioso
2074:German
2055:Timbre
2020:Encore
2005:Claque
1998:French
1964:Number
1858:
1840:
1824:
1798:
1779:
1765:
1738:
1714:
1698:
1671:
1640:
1623:
1604:
1570:
1543:
1518:
1497:
1487:
1433:passim
1175:
1165:Oporto
1157:Lisbon
1142:
1028:
945:kabuki
847:Mozart
740:Platée
735:Rameau
641:Mozart
637:Handel
552:Hamlet
529:Barrie
338:Platée
333:basses
311:Rameau
298:Armide
118:French
112:. The
76:" — a
59:ballet
41:Hamlet
2943:Drama
2744:Media
2644:ABGLT
2602:Köçek
2421:Other
2317:Ossia
2162:Banda
1904:terms
1901:Opera
1298:IRCAM
1074:(the
1026:JSTOR
936:Köçek
731:nymph
481:as a
325:Fates
307:tenor
293:Lully
272:Orfeo
164:As a
106:, or
57:, or
51:opera
2567:Drag
2242:Diva
2147:Aria
2081:Fach
1856:ISBN
1838:ISBN
1822:ISBN
1796:ISBN
1777:ISBN
1763:ISBN
1736:ISBN
1712:ISBN
1696:ISBN
1669:ISBN
1638:ISBN
1621:ISBN
1602:ISBN
1588:link
1568:ISBN
1541:ISBN
1516:ISBN
1495:OCLC
1485:ISBN
1173:ISBN
1140:ISBN
639:and
588:and
327:and
279:and
204:and
154:drag
55:play
1018:doi
758:as
617:or
543:'s
539:in
515:in
434:In
269:'s
180:'s
176:in
39:as
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1854:.
1584:}}
1580:{{
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1395:,
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1096:^
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562:,
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444:,
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168:,
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2462:e
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2448:v
1893:e
1886:t
1879:v
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