Research on the Shaping of Mezzo-soprano Trouser Roles in Mozart Opera Works

Abstract

Mozart used vocal writing, characterisation, dramatic function and gendered stage conventions in these operas to create special mezzo-soprano trouser roles. Cherubino in The Marriage of Figaro, Sesto in La clemenza di Tito, Idamante in Idomeneo and Annio in La clemenza di Tito are selected as typical cases of travesti casting in Mozart's operas for this study. Research has found that Mozart did not treat these roles as interchangeable male characters for women to sing; instead, he adapted each role according to the requirements of the play and changed vocal ranges and emotional expressions, etc. Historical research on trouser roles, Mozart's own studies, and the practices of opera performances all indicate that Mozart frequently employed various vocal types to depict different characters. Therefore, the mezzo-soprano trouser roles in Mozart's works are necessary to study how opera uses gender, colour and theatre to tell stories.