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The post-modern emergence of the operatic countertenor virtuoso is one of several rather paradoxical trends of contemporary „historically informed performance practice.“ 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 Handel‘s 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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