Arnold Jacobshagen
HŠndels Countertenšre und die historische AuffŸhrungspraxis*
The post-modern emergence of the operatic
countertenor virtuoso is one of several rather paradoxical trends of
contemporary ãhistorically informed performance practice.Ò Handel never
employed a falsetto voice in his operas, and even in his oratorios a
countertenor soloist appeared only sporadically. The article discusses the
original casts of HandelÔs London performances and argues that we should
reconsider the current pseudo-historicist countertenor trend in the context of
contemporary music aesthetics and developments within musical culture.
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