Book contents
- Beethoven Studies 4
- Beethoven Studies 4
- Copyright page
- Contents
- Figures
- Contents
- Music Examples
- Contributors
- Preface
- Abbreviations
- 1 From the Chapel to the Theatre to the Akademiensaal: Beethoven’s Musical Apprenticeship at the Bonn Electoral Court, 1784–1792
- 2 Gracious Beethoven?
- 3 Beethoven’s Unfinished Symphonies
- 4 Beethoven as Sentimentalist
- 5 Beethoven’s Nature: Idealism and Sovereignty from an Ecocritical Perspective
- 6 (Cross-)Gendering the German Voice
- 7 Beethoven and Tonal Prototypes: An Inherited and Developing Relationship
- 8 Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824
- 9 Composing with a Dictionary: Sounding the Word in Beethoven’s Missa solemnis
- 10 Deafly Performing Beethoven’s Last Three Piano Sonatas
- Index of Beethoven’s Works
- General Index
6 - (Cross-)Gendering the German Voice
Published online by Cambridge University Press: 26 September 2020
Book contents
- Beethoven Studies 4
- Beethoven Studies 4
- Copyright page
- Contents
- Figures
- Contents
- Music Examples
- Contributors
- Preface
- Abbreviations
- 1 From the Chapel to the Theatre to the Akademiensaal: Beethoven’s Musical Apprenticeship at the Bonn Electoral Court, 1784–1792
- 2 Gracious Beethoven?
- 3 Beethoven’s Unfinished Symphonies
- 4 Beethoven as Sentimentalist
- 5 Beethoven’s Nature: Idealism and Sovereignty from an Ecocritical Perspective
- 6 (Cross-)Gendering the German Voice
- 7 Beethoven and Tonal Prototypes: An Inherited and Developing Relationship
- 8 Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824
- 9 Composing with a Dictionary: Sounding the Word in Beethoven’s Missa solemnis
- 10 Deafly Performing Beethoven’s Last Three Piano Sonatas
- Index of Beethoven’s Works
- General Index
Summary
Pauline Anna Milder (1785–1838) undertook the cross-dressing role of Leonore in all three version of Beethoven’s Fidelio. In this detailed study of Milder’s career, the author examines the nature of Milder’s voice (as reported extensively by commentators), the expressive and dramatic consequence of cross-dressing and, more broadly, the development of a recognizably ‘German’ soprano voice, one that was promoted by the most canonical German opera of the time, Beethoven’s Fidelio.
- Type
- Chapter
- Information
- Beethoven Studies 4 , pp. 121 - 143Publisher: Cambridge University PressPrint publication year: 2020