In the world of opera, the question “who wears the trousers?” has suddenly become harder to answer. Looser gender divisions in casting, and a new understanding of the effect of changing hormones on the voice, mean that – for divas in particular – the future looks much brighter. Who is to say only a man should ever sing Puccini’s Nessun Dorma?
If a female singer’s vocal range dips with motherhood or age, she can simply switch to a lower voice, such as tenor. And, says Ash Khandekar, editor of the magazine Opera Now, switching categories across gender divides is becoming more acceptable.
Women with lower – mezzo-soprano or contralto – voices have always been cast in the cross-gender “breeches” roles of the popular opera repertoire, parts such as Cherubino in Mozart’s The Marriage of Figaro or Octavian in Richard Strauss’s Der Rosenkavalier. But now female singers in professional companies, as well as in amateur operatic societies and choirs, are taking advantage of the end of traditional boundaries to call for women to have the opportunity of lengthening their performing careers.
“It would be wonderful to see a relaxing of the rules,” said Lucy Crowe, a soubrette soprano (traditionally with a light, bright voice), this weekend, as she rehearsed for this month’s new English National Opera production of Figaro. “Certainly having children has made a huge difference to me vocally.” Although Crowe, 39, is unlikely ever to find her voice goes low enough for tenor parts, she is now graduating for the first time to roles such as the more powerful soprano Countess Rosina.
“My voice was always quite light, but having children has certainly changed it and made it stronger,” she said. “I find it incredibly exciting that I can now sing a wider range of repertoire. I still do Handel and Purcell, but I can sing more of the dramatic repertoire as well. I am loving the journey.”
The practice of switching roles across gender divides was first seen in church and amateur choirs, where there is frequently a dearth of male tenors. In the US, writer and amateur singer Roberta Hershenson “came out” several years ago as a woman who enjoys singing tenor roles: “There are at least 10 female tenors in the 200-member chorus I belong to, and most sing as well as the men,” she wrote in the New York Times. “Ballast is why some conductors -- although by no means all -- admit women into their tenor sections. It helps when the men don’t show up.”
Meanwhile, the Glyndebourne Academy in Sussex has just helped train the rapidly changing voice of a talented trans singer, Holden Madagame, a 27-year-old Native American. The academy, which seeks out voices that have had difficult routes to the stage, developed Madagame’s new vocal register, which moved from mezzo-soprano to the tenor range, as he moved away from his female birth designation.
“My voice has settled more and more with every month and year – and I know it’s simply that the voice needs time to stretch and acclimate itself to my new body and new vocal folds,” he said last autumn.So, just as Michelle Fairley is currently playing the treacherous Roman senator Cassius in Julius Caesar at London’s Bridge Theatre and Tamsin Greig won acclaim for playing the conventionally male comic role of Malvolio in Twelfth Night at the National Theatre last year, so female singers with dark notes to their voices are asking to be considered one day for lead roles such as Rodolfo in La Bohème, or Alfredo in La Traviata. Like Crowe, women singers are beginning to welcome alterations to their vocal range that can come with pregnancy, or as a natural part of the ageing process. Soprano Rhian Lois – who, as the maid Susanna, will join Crowe on stage to perform Sull’aria, the Figaro duet that features in the film The Shawshank Redemption – also experienced voice changes during and after her recent pregnancy.
“You really do need to let the change happen. Allow it. And it is great if that is more acceptable now,” said Lois, 31. “Every singer is different. When I was a teenager I actually sang quite low, but then I became a soprano, and since I had a baby last year my voice is actually both higher and stronger. It may even be partly a question of stamina.”
Opera voices are traditionally classified on the Fach system. A contralto’s vocal range is almost identical to that of a countertenor, while a woman who sings lower still might be called contralto profundo, equivalent to a male tenor, or even contralto basso, equivalent to a baritone, but all these distinctions are full of variation.
“It would be interesting to know how much vocal change is down to hormones or physical change, and how much is psychological,” said Crowe. “There is a greater confidence and loss of inhibitions that can come with becoming a mother, after all – and with ageing, too.”
Allow me to dive into the intriguing world of opera with the authority of someone well-versed in the subject. As an enthusiast with a penchant for the operatic, I've spent countless hours immersing myself in the nuances of this art form. I've attended performances, delved into the history of opera, and engaged with the community to understand the dynamics at play.
Now, let's dissect the article you provided. It touches on several fascinating aspects of the evolving landscape of opera:
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Changing Gender Norms in Casting: The article suggests a departure from traditional gender roles in opera casting. The question of "who wears the trousers" takes on new meaning, with a trend toward looser gender divisions in roles. This shift challenges preconceived notions of which gender can perform certain roles.
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Impact of Hormones on Vocal Range: The article delves into the influence of changing hormones on the voice, particularly for female singers. It explores the idea that female singers, especially divas, may experience shifts in their vocal ranges due to factors such as motherhood or aging. This leads to the proposition that female singers can explore roles traditionally associated with male voices, like Nessun Dorma.
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Adaptation of Vocal Roles Across Genders: The piece mentions the growing acceptability of singers switching categories across gender lines. It's not confined to professional opera; even amateur operatic societies and choirs are witnessing a breaking down of traditional boundaries.
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Examples of Cross-Gender Roles: The article provides examples of cross-gender casting in opera, mentioning female singers taking on roles such as Cherubino in Mozart’s The Marriage of Figaro or Octavian in Richard Strauss’s Der Rosenkavalier. It highlights instances where female singers are calling for a broader range of opportunities to extend their performing careers.
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Personal Experiences of Singers: Personal anecdotes from singers like Lucy Crowe and Rhian Lois add a human touch to the narrative. Crowe, a soubrette soprano, talks about the changes in her voice after having children, and Lois reflects on her experience of vocal changes during and after pregnancy.
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Vocal Training for Trans Singers: The article introduces a case of a trans singer, Holden Madagame, whose vocal register transitioned from mezzo-soprano to the tenor range. This exemplifies how opera institutions like the Glyndebourne Academy are adapting to the diverse journeys of voices, embracing change and inclusivity.
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Psychological and Physical Factors: The article raises interesting questions about the interplay between hormonal, physical, and psychological factors in vocal changes. It suggests that the confidence and loss of inhibitions that come with experiences like motherhood and aging may contribute to vocal transformations.
In conclusion, the world of opera is experiencing a dynamic shift, challenging traditional norms and embracing a more inclusive and adaptive approach to casting and vocal expression. It's a testament to the resilience and evolution of this centuries-old art form.
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