Note 300 — HIS TECHNIQUE AND WORKS
A. Eaglefield (Arthur Eaglefield) Hull translation
See the vocal distribution of some of the London Operas:
Radamisto (1720): 4 Sopranos (of which 3 parts are male characters), 1 Alto, 1 Tenor, 1 Bass.
Floridante (1722): 2 Sopranos, 2 Contraltos, 2 Basses.
Giulio Cesare (1724): 2 Sopranos, 2 Altos, 1 Contralto (Cæsar’s rôle), 2 Basses.
Tamerlano (1724): 2 Sopranos, 1 Contralto (male rôle), 1 Alto (Tamerlano), 1 Tenor, 1 Bass.
Admeto (1727): 2 Sopranos, 2 Altos, 1 Contralto (Admeto), 2 Basses.
Orlando (1732): 2 Sopranos, 1 Alto (Medora), 1 Contralto (Orlando), 1 Bass.
Deidamia (1747): 3 Sopranos (one is Achilles’ rôle), 1 Contralto (Ulysses), 2 Basses.
It is the same in the Oratorios, where one finds such a work as Joseph (1744) written for 2 Sopranos, 2 Altos, l Contralto (Joseph), 2 Tenors, and 2 Basses.
Thus, without speaking of the shocking inconsistencies of the parts thus travestied, the balance of voices tends to fall off as we go from high to low.