I'm reading mezzo-soprano Janet Baker's book Full Circle and she's recounting the time when she took the part of Orfeo. I gather it was originally written for a castrato, and that castrati were revered singers in those days. But all the same, was there some reason why Gluck didn't write a tenor part for Orfeo which would have complemented the soprano role and provided more contrast which may have arguably been more vocally interesting? Are there any other surviving operas in production where the male lead was performed by a castrato?

Handel's Giulio Cesare?

As for the Gluck, no idea, but I'm very glad Orpheo wasn't written for tenor: Che Faro Senza Euridice is so lovely to sing! It's just so gentle: like a lullaby.

Look forward to hearing you sing it one day, false_harmonic


I've just found this recording sung by Pavarotti and one of the comments says that Gluck wrote a tenor version for Paris.

http://www.youtube.com/watch?v=v0xqVel3iho

Barry played Orfeo at the Chester 'do'. DC was Eurydice.

Gluck's Orfeo was certainly one of the most important turning points in the history of the opera for many reasons. His use of recitative is most interesting and was not used merely to provide links. The use of the castrato voice was commonplace then and in earlier times of course and Gluck uses the voice in keeping with the traditions of his time but uses it to great effect. He was able to write skilfully and without any problems in complimenting the leading lady and his duet, Vieni, appoggia il tuo consorte, is one of the most beautiful moments in the opera in my humble opinion. Two voices of a similar range will have had no problems in complimenting one another of course. Think of the part writing of Monteverdi perhaps or even some of the instrumental duets of the Baroque age. What is so often lost to us in modern performances is the grace of ornamentation of the time and the lightness of the instruments used then. Find a recording made on period instruments and in the true Baroque style and you will understand that a tenor voice would have added little to the writing.

I might be wrong but I vaguely remember from one of the OU courses that the role was originally written for a "star" castrato at the time (when it was a must to have castrati in leading roles in Italian operas). The music was also revised slightly when it was later performed by another castrato. But since castrati weren't fashionable in France, the music was again reworked for the Paris performance (also to suit the French taste e.g. adding ballet) Will dig out the OU books if I have time

Other operas I can think of: Handel's Tamerlano and Rinaldo, something Egitto by Mayerbeer. I think Mozart's Idomeneo was originally a castrato role as well but later revised as tenor.