was popular through the earlier 18th century, giving way gradually to the
delayed manner. Quotations from treatises, musical examples, other documen-
tary evidence.- Caswell, Austin B., ed. Embellished Opera Arias. Recent Researches in the
Music of the 19th and Early 20th Centuries, 7–8.Madison, Wisc.: A-R Edi-
tions, 1989. xxxii, 219p. ISBN 0-89579-240-0. M2 .R23834 v.7–8.
An anthology of vocal scores from 1816–1860, consisting of 18 arias and four
duets from 17 operas. More than half of the scores are from Rossini works; 15
are for female voice. Most of the material is taken from a Paris Conservatory
method book published in 1849. These pieces were published in versions with
embellishments, and that is how they appear here. They illustrate the orna-
mentation practice of leading singers. With source information and useful
commentary. - Goldschmidt, Hugo. Die italienische Gesangsmethode des XVII. Jahrhunderts
und ihre Bedeutung für die Gegenwart. 2nd ed. Breslau: Schlesische Buch-
druckerei, 1892. vii, 137, 68p. Reprint, Hildesheim: Olms, 1997.
Describes techniques of singing, including ornamentation, as presented by
writers in the 17th century. The 68-page appendix contains actual singing
exercises. - Fortune, Nigel. “Italian 17th-Century Singing.” M&L35 (1954): 206–219.
Presents prefatory material from some 200 books of solo vocal music. The edi-
tors of these anthologies offered useful directions for interpretation, including
use of falsetto, expressive gradations of volume, and rubato. - Goldovsky, Boris, and Arthur Schoep. Bringing Soprano Arias to Life. New
York: Schirmer, 1973. iv, 326p. ISBN 0-911320-64-4. Reprint, Metuchen,
N.J.: Scarecrow, 1990. ISBN 0-8108-2364-0. MT892 .G64.
A valuable, measure-by-measure analysis of 28 standard arias, offering guid-
ance about vocal problems (including embellishments, rhythm, and tempo),
the musical structure, staging and costume matters, and “actions of the aria.”
Character building is well treated, along with style, traditions, and transla-
tions. Musical examples, no index. - Keyser, Dorothy. “Cross-Sexual Casting in Baroque Opera: Musical and The-
atrical Conventions.” OQ5-4 (Winter 1987–1988): 46–57.
A useful review of the casting of castrati, young boys in treble roles, women in
male heroic roles, and women playing the roles of young boys. Considers the
problem of modern productions that confront those conventions and finds no
solution entirely satisfactory. Keyser objects to Paul Henry Lang’s proposal,
which is simply to transpose high parts down an octave and let men sing them.
Things could get complicated in the 18th century, as Keyser demonstrates by
recounting the bewilderment of Casanova when he encountered a woman
thoroughly disguised as a castrato.
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