This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.

中文翻译：

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重新思考歌剧的阳刚之气：尼古拉·塔奇纳尔迪的咏叹调替换和十九世纪早期意大利的英雄原型

本文着眼于 1820 年代和 1830 年代意大利歌剧表演中男性气质的表现，特别关注男性角色通过咏叹调和场景替换的实践而转变的方式。1833 年退休后，男高音尼古拉·塔奇纳尔迪（Nicola Tacchinardi）责备了音乐表演者——唱男性角色的女性——因为他们对歌剧英雄的描绘不够令人信服。他没有抱怨她们高调的声音，而是选择批评这些女性的女性外表和特殊的舞台行为缺乏男性气质。因此，塔奇纳尔迪对性别表演的标准回避了具体的声音，并以表演者在特定叙事情境中的外表和行为为中心。我的研究探讨了 Tacchinardi 和他的同时代人如何在英雄角色中使用咏叹调替代作为情节替代的手段，放弃戏剧性静止的咏叹调，以展示决定性的动作和增强的叙事意义。在这种杜普雷兹之前的环境中，在歌剧话语中预定的生理学开始之前，1820 年代的男歌手不是通过声音，而是作为文本控制的大师，实现了明确的男性自我定义。歌剧中的咏叹调替换 但作为文本控制的大师。歌剧中的咏叹调替换 但作为文本控制的大师。歌剧中的咏叹调替换伊尔明苏尔圣殿,拉多娜德拉戈和诺玛展示歌手如何通过对戏剧的敏感考虑来建立男性英雄惯例的组成部分。我强调 1830 年之前的歌声被低估为性别指标，重新思考“男高音崛起”的历史可能对理解发声体的历史至关重要。