Cherubino (Soprano) – Mozart’s The Marriage of Figaro
Cherubino is perhaps the best known travesti role in the repertoire, and is a prominent role in Mozart’s The Marriage of Figaro. Although titled as ‘the Count’s page’, in his first appearance Cherubino bursts into the room, enlisting Susanna’s aid
to be reinstated to the role – the Count discovered him with the gardener’s daughter and dismissed him. Despite being sent to Seville in the Count’s army regiment, Cherubino remains, leading to farcical situations hiding from Count Almaviva.
The page has a reputation for falling in love with every woman he comes across (including the Countess, leading to more outrage from the Count), leadings to increasingly ridiculous situations – dressing as Susanna in an attempt to trick the Count (a case of a woman portraying a man portraying a woman).
Cherbino was played by Hanna Hipp in ENO’s 2025 production of The Marriage of Figaro.
## Hansel (Mezzo-Soprano) –Engelbert Humperdinck’s Hansel and Gretel
###
**2019 Production Gallery**
[ View 8 images ](https://ekat8wd2es5.exactdn.com/wp-
content/uploads/2019/06/ENO-Hansel-and-Gretel-at-Regents-Park-Open-Air-
Theatre-Rachel-Kelly-and-Susanna-Hurrell-as-Hansel-and-Gretel-c-Johan-
Persson-1024×682.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Rachel-Kelly-and-Susanna-Hurrell-as-
Hansel-and-Gretel-and-Company-c-Johan-
Persson-1024×682.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Susanna-Hurrell-Alasdair-Elliott-and-
Rachel-Kelly-as-Gretel-Witch-and-Hansel-c-Johan-
Persson-1024×682.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Rosie-Aldridge-and-Duncan-Rock-as-
Mother-and-Father-c-Johan-
Persson-1024×682.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Susanna-Hurrell-and-Rachel-Kelly-as-
Gretel-and-Hansel-c-Johan-
Persson-691×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Gillian-Keith-as-Sandman-c-Johan-
Persson-682×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-He-Wu-as-Dew-Fairy-c-Johan-
Persson-1024×911.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/06/ENO-Hansel-and-
Gretel-at-Regents-Park-Open-Air-Theatre-Susanna-Hurrell-and-Alasdair-Elliott-
as-Gretel-and-Witch-c-Johan-
Persson-681×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1)
Photo Gallery
[Humperdinck](https://en.wikipedia.org/wiki/Engelbert_Humperdinck_(composer))
uses a mezzo-soprano to play the titular young hero in his _Hansel and Gretel_
opera, highlighting the youth of the character and cementing the role as that
of a child. Prior to the events of the plot, the siblings live a simple (if
boring) life in the woods with their parents.
As the opera begins, Hansel is making brooms for his father to sell, and
Gretel is stitching a stocking. Their unexceptional life is shaken up when the
duo wanders into the wood, quickly becoming lost.
Giving their nightly prayers, the siblings sing the most popular aria of the
opera, the folk music inspired ‘Evening Benediction’ (‘Abendsegen’). Once
captured by the Witch, Hansel is chosen as her prey, caged and fattened up,
before the children make their escape, killing the witch and freeing her
captive children in the process.
Interestingly, Hansel and Gretel features several characters which have been
played as _travesti_ roles in its history. The Sandman is played by a soprano
when he puts Hansel and Gretel to sleep in the second act, whilst the Witch
(originally a Mezzo-Soprano) has been quite often portrayed by a male tenor,
including in ENO’s 2019 production.
Hansel was played by both Rachel Kelly and Heather Lowe, whilst the Witch was
played by [Alasdair Elliott](https://www.eno.org/artists/alasdair-elliott/)
and John Findon, in the ENO and Regent’s Park Theatre’s production of [_Hansel
and Gretel_](https://www.eno.org/discover-opera/operas/an-introduction-to-
hansel-and-gretel/) in Summer 2019.
## Orpheus (Contralto) – Christoph Willibald Gluck’s Orpheus and Eurydice
###
**2019 Production Trailer**
[YouTube Video](https://www.youtube.com/embed/XkMWdxsgL18?feature=oembed)
Video
Although originally debuted with a male
[castrato](https://www.eno.org/discover-opera/opera-glossary/#C), Orpheus has
become a role that is often played by a woman, due to some interesting
historical developments. ‘[Concert
pitch](https://en.wikipedia.org/wiki/Concert_pitch)’ was uncoordinated across
Europe prior to the 19th Century, with cities across Europe varying up to 5
semitones (in current tunings). This lead to
[Gluck](https://www.eno.org/composers/christoph-willibald-gluck/)‘s original
writing becoming increasingly hard to be sung by men, during the time when
concert pitch was being standardised. The French government passed a law in
1859 to introduce _diapason normal_ , stopping the upward moving tendency in
pitch trends.
When Giacomo Meyerbeer proposed the renowned alto [Pauline
Viardot](https://en.wikipedia.org/wiki/Pauline_Viardot) should perform as
Orpheus, [Hector Berlioz](https://en.wikipedia.org/wiki/Hector_Berlioz)
arranged a version of the opera with Viardot in mind for the role. With the
standardised pitch newly introduced, Berlioz’s version (widely performed in
modern times) puts the role comfortably in the range of a female contralto.
Gluck’s _Orpheus and Eurydice_ is perhaps the ‘classic’ Orpheus opera, giving
a pure iteration of the story we all know, and incorporating dance heavily
into the staging. Orpheus takes centre stage as the tragic hero, with the most
famous aria of the opera ‘I have lost my Eurydice’ (‘Che farò senza
Euridice?’) acting as his emotional climax.
Orpheus was played by [Alice Coote](https://www.eno.org/artists/alice-coote/)
in the ENO’s October-November 2019 production of _[Orpheus and
Eurydice](https://www.eno.org/operas/orpheus-and-eurydice/)._
## Octavian (Soprano/Mezzo-Soprano) – Richard Strauss’s Der Rosenkavalier (The
Knight of the Rose)
###
**Aria – As you were (‘Wie Du Warst’)**
[YouTube Video](https://www.youtube.com/embed/JVhXrG7ntoc?feature=oembed)
Video
[Richard Strauss](https://www.eno.org/composers/richard-strauss/)‘s _Der
Rosenkavalier_ , billed as one of the most popular operas of the twentieth
century, concerns the tale of the 17-year-old Count Octavian Rofrano, played
by a female soprano. As the curtain rises, our handsome homewrecker has just
finished his love making with the ‘slightly’ older (32-years old) Princess
Marie Thérèse von Werdenberg, whose husband is away hunting.
The opera continues to follow the comic mishaps of the young Count, as well as
the Marschallin (Princess Marie), her dullard cousin Baron Ochs von Lerchenau,
and his fiancée Sophie von Faninal. Much like the previously mentioned
Cherubino, he segues through a set of farces, including dressing as a
chambermaid to escape the punishment of Baron Ochs when he barges into the
room – a case of a woman playing a man masquerading as a woman.
Marschallin knows that Octavian will eventually leave her for a younger, more
beautiful bride, and Octavian’s contact with Sophie leads to the youth falling
in love with her. Marschallin relinquishes him to Sophie so he can be truly
happy, while she is left alone.
Octavian is (arguably) the central role of the opera, as well as the titular
Knight of the Rose, and was played by [Sarah
Connolly](https://www.eno.org/artists/sarah-connolly/) in the 2012 production
of _Der Rosenkavalier._
## Cupid (Soprano) – Jacques Offenbach’s Orpheus in the Underworld
###
**2019 Production Gallery**
[ View 10 images ](https://ekat8wd2es5.exactdn.com/wp-
content/uploads/2019/10/ENO-Orpheus-in-the-Underworld-2019-c-Clive-
Barda-31-663×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-9-1024×610.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-25-684×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-30-1024×670.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-6-1024×593.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-32-1024×684.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-33-1024×684.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-14-1024×684.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-17-1024×673.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1) [
](https://ekat8wd2es5.exactdn.com/wp-content/uploads/2019/10/ENO-Orpheus-in-
the-Underworld-2019-c-Clive-
Barda-20-684×1024.jpg?strip=all&lossy=1&quality=90&webp=90&w=2560&ssl=1)
Photo Gallery
Whilst a relatively minor role,
[Offenbach](https://www.eno.org/composers/jacques-offenbach/)‘s depiction of
Cupid in his [_Orpheus in the Underworld_](https://www.eno.org/operas/orpheus-
in-the-underworld/) is performed as a _travesti,_ acting alongside Minerva,
Venus and Diana to mock Jupiter and his pursuit of Eurydice. The gods complain
at length about Jupiter’s tyrannical ways, and his various disguises he uses
to woo mortals (despite being married to Juno).
In Act 2, Cupid also helps to convince Eurydice to sing the aria ‘I saw the
god Bacchus’ (J’ai vu le dieu Bacchus), when she is disguised as a Bacchante
(a priest of Bacchus).
Perhaps the role is most famous for having been performed by the courtesan
[Cora Pearl](https://en.wikipedia.org/wiki/Cora_Pearl) in an 1867 revival of
the opera, sparking intrigue and outrage. This being said, the uproar didn’t
last long, with Pearl relinquishing the role after only 12 days. Evidently,
the role is known for being portrayed with femininity, despite being
classically male.
Cupid was played by [Ellie Laugharne](https://www.eno.org/artists/ellie-
laugharne/) in our production of [_Orpheus in the
Underworld_](https://www.eno.org/operas/orpheus-in-the-underworld/), which ran
during the 2019/20 season.
## Prince Orlofsky (Mezzo-Soprano) – Johann Strauss II’s Die Fledermaus
###
**Aria – I like inviting guests (‘Ich lade gern mir Gaste ein’)**
[YouTube Video](https://www.youtube.com/embed/qqoBKVo98e4?feature=oembed)
Video
A relatively minor character compared to others on this list, Prince Orlofsky
is nevertheless integral to the plot of Johann Strauss II’s operetta _Die
Fledermaus._ Usually played as a _travesti_ role, occasionally the part is
played by a male tenor.
Orlofsky is an eccentric young Russian prince, endlessly looking for something
to amuse and interest him. Hearing about how Eisenstein (the protagonist) had
played a practical joke on Dr Falke (the local notary), Orlofsky throws a
grand masquerade ball to help Falke get his revenge as a source of
entertainment.
With Act 2 of the opera set at the party, Orlofsky insists that his guests
drink champagne with him, fuelling more alcohol-related shenanigans, and
leading to the beginning of Act 3 – where the characters wake up in prison,
struggling to recall the events of the previous night.
Our Prince Orlofsky in the ENO’s 2012 production of _Die Fledermaus_ __ was
[Jennifer Holloway](https://www.eno.org/artists/jennifer-holloway/).
## The Kitchen Boy (Mezzo-Soprano) – Antonín Dvořák’s Rusalka
###
**Aria – Our prince is gravely ill (‘Náš Princ těžce stůně, převelice’)**
[YouTube Video](https://www.youtube.com/embed/pzMJ-h025Ck?feature=oembed)
Video
In [Antonín Dvořák](https://www.eno.org/composers/antonin-dvorak/)‘s opera
inspired by Slavic mythology [_Rusalka_](https://www.eno.org/operas/rusalka/),
the duo of the burly Gameskeeper/Forester and the spry Kitchen Boy are
recurring characters, acting in places as audience surrogate – but also
reflect the views of the lower castes of the Prince’s kingdom. The Kitchen Boy
is frightened by the mute Rusalka, who he believes to be a witch as he gossips
with the Forester about Rusalka and the Prince’s relationship, and how the
Prince tires of her silence.
In Act 3, the pair return, approaching the witch Ježibaba about the Prince,
who has, in their eyes, been betrayed by Rusalka. Ježibaba restores the
Prince’s confidence, then she scares the Kitchen Boy and the Forester off.
## Siébel (Mezzo-Soprano) – Charles Gounod’s Faust
###
**Aria: Make her my dear (‘Faites-lui mes âveux’)**
[YouTube Video](https://www.youtube.com/embed/Oo3zy6O2AYE?feature=oembed)
Video
In his _Faust_ (based on the play _Faust et Marguerite_), [Charles
Gounod](https://en.wikipedia.org/wiki/Charles_Gounod) depicted Siébel as a
‘lovesick boy’ in the village, who acts as the romantic rival of Faust for
Margurite’s affection. Siebel is very much a small part, but is important
enough to have a wonderful aria written for him. Siébel is adapted from
Goethe’s character of the same name (who is a bartender in Auerbach’s Cellar,
a restaurant/bar Goethe frequented in Leipzig).
Gounod’s use of Siébel seems to show that mortal men cannot stand up to those
twisted by Hell’s thrall. Siébel brings Marguerite (who is the sister of his
friend, the soldier Valentin) flowers, only for Méphistophélès to bring a
greater gift – a box of ornate jewellery. Even after Faust’s betrayal,
Marguerite still does not reciprocate Siébel’s feelings.
In the ENO’s 2010 production of Faust, Siébel was portrayed by Anna Grevelius.
Related content
Opera's greatest love stories
