Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev14 haendel
Rev14 preface
Rev14 burrows
Rev14 gier
Rev14 salvia
Rev14 landgraf
Rev14 degott
Rev14 gardner
Rev14 burden
Rev14 robins
Rev14 duguet
Rev14 tchorek
Rev14 young
Rev14 couderc
Rev14 heberle
Rev14 curkovic
Rev14 zorica
Rev14 cubas
Rev14 vincent
Rev14 deconinck
Rev14 dubois

Due to a massive revival of Handel’s vocal-instrumental music in performance practice over the past twenty years or so, stage performances of the composer’s operas as well as some of his dramatic oratorios have become frequent not merely at specialised baroque festivals, but also in a large number of opera houses in Europe and the United States. At the same time, live video recordings of stage performances have begun to occupy an important place in operatic discography, which results in a wide range of Handel’s works available on DVD.

Tendencies in this multimedia aspect of performance practice are examined through two lenses: the so-called authentic interpretation of early music and the so-called director’s theatre (Regietheater), within a theoretical framework stemming from musicology and theatre studies. Interrelationships between these two approaches that are only seemingly contradictory will be examined, while concentrating on an important question that has repercussions on both of them. This question is: who is to interpret the roles ambiguous in terms of gender (written mostly for the castrati), females (mezzo-sopranos or contraltos) or males (countertenors)?

In an attempt to debate about an insightful answer to this question, concrete examples will be examined. In this process gender studies is going to be of prime importance, given the complex gender identity of castrati in opera seria of the 18th century. DVD performances will be subject to a rough statistical analysis showing a propensity of certain stagings for a predominant use of either countertenors or female singers in roles ambiguous in terms of gender, as well as some that cast both types of performers. The study will attempt to determine why.


Haendel après Haendel :

Construction, renommée, influence de Haendel et de la figure haendélienne

N° 14q

Ivan Curkovic

University of Zagreb/ Heidelberg University

Men and/or Women: Gender Ambiguity and Performance Practice in Stagings of G.F. Handel's Operas and Oratorios



Donald Burrows
Donald Burrows - Turning the Handel

Albert Gier
Albert Gier - Haendel à Karlsruhe

Adrian La Salvia
Adrian La Salvia - La Renaissance de Haendel au miroir des traductions

Annette Landgraf
Annette Landgraf - The German Belletristic Literature about Handel

Pierre Degott
Pierre Degott - From Facts to Fiction

Matthew Gardner
Matthew Gardner - The Great Mr Handel

Michael Burden
Michael Burden - When Giulio Cesare was not Handel's Giulio Cesare

Brian Robins
Brian Robins - John Marsh and Handel

Lionel Duguet
Lionel Duguet - La réception du Messie en France au XIXème siècle

Denis Tchorek
Denis Tchorek - Un exemple de transfert culturel

Steven Young
Steven Young - Handel Redux

Gilles Couderc
Gilles Couderc - Move over, Handel!

Jean-Philippe Heberlé
Jean-Philippe Heberlé - L'héritage haendélien et Michael Tippett

Ivan Curkovic
Ivan Curkovic - Men and/or Women

Maja Vukusic Zorica
Maja Vukusic Zorica - Les périgrinations du genre

Yaiza Bermudez Cubas
Yaiza Bermudez Cubas - Reflexiones de la musica del Haendel en el cine

Nathalie Vincent-Arnaud
Nathalie Vincent-Arnaud - Les métamorphoses de Terpsichore

Françoise Deconinck
Françoise Deconinck - Sharp, Haendel, Nares et les autres

Pierre Dubois
Pierre Dubois - The Changing Faces of Handelian Historiography