Donizetti's Alahor in Granata: "Muley-Hassem" is sung by a contralto Donizetti's Anna Bolena: "Smeton" is sung by a mezzo-soprano Donizetti's Lucrezia Borgia: "Maffio Orsini" is sung by a contralto Dvořák's Rusalka: "The Kitchen Boy" is sung by a soprano Glinka's A Life for the Tsar: "Vanya" is sung by a contralto Glinka's Ruslan and Lyudmila: "Ratmir" is sung by a contralto Gluck's Orfeo ed Euridice: Originally written for a castrato, "Orfeo" is sung by a mezzo-soprano, contralto or counter-tenor Gluck's Paride ed Elena: Originally written for a castrato, "Paride" is sung by a soprano Gounod's Faust: "Siebel" is sung by a contralto, a mezzo-soprano or a soprano Gounod's Romeo and Juliet: "Stefano" is sung by a soprano Hahn's Mozart: The title is sung by a soprano Händel's Alcina: "Ruggiero" is sung by a mezzo-soprano Händel's Ariodante: The role of "Ariodante" was premiered by a soprano-castrato and is performed today by a mezzo-soprano; "Lurcanio" was originally written for contralto, but later rewritten by Handel for tenor. In modern performances it is generally left to the director to decide whether to use contralto (or countertenor) or a lyric tenor. Händel's Giulio Cesare: "Julius Caesar" was originally written for an alto-castrato and is today sung by a mezzo-soprano or countertenor; "Sesto" is sung by a soprano Händel's Rinaldo: the title role "Rinaldo", sung at its premiere by a castrato, is currently sung by a mezzo-soprano or a countertenor Händel's Xerxes: the title role "Xerxes", sung at its premiere by a castrato, is currently sung by a mezzo-soprano or a countertenor Haydn's La canterina: The role of "Don Ettore" is sung by a soprano and the role of "Apollonia" is sung by a tenor Haydn's Lo speziale: The role of "Volpino" is sung by a soprano Lecocq's Le petit duc: the title role is sung by a soprano Humperdinck's Hänsel und Gretel: "Hänsel" is sung by a mezzo-soprano; The Sand-Man and The Dew-Man sung by sopranos; The Witch often sung by a tenor Janáček's From the House of the Dead: Aljeja, a young Tartar is sung by a mezzo-soprano Massenet's Cendrillon: the role of "Le Prince Charmant" was written for a soprano (in some performances the role is taken by a tenor) Massenet's Chérubin: The title role is sung by a soprano Meyerbeer's Les Huguenots : "Urbain" the page is sung by a mezzo-soprano Monteverdi's L'incoronazione di Poppea: "Nero" is sung by a soprano