Women have played men on the operatic stage since the beginnings of opera, but only relatively recently has there been a move towards theatrical realism. Two trouser-wearing mezzos, Sarah Connolly and Helen Sherman, talk to Robert Hugill.
The hero walks on to the stage, looking dashing but dishevelled in a military uniform. His body language says it all, and then he opens his mouth. He turns out to be a she, and the role is en travesti.
Sorry, to view the rest of this content you must be logged in.
Unfortunately you are not logged in. Please choose one of the following options:
NOTE: Free accounts provide access to news and opinion articles. For full site access you will also need to be a subscriber.
Leave a Reply
You must be logged in to post a comment.