Die Fledermaus for a woman or man; both commonly sing the role. When played by a mezzo, the prince looks like a woman, but sounds like a boy. When played by a counter-tenor, he looks like a man, but sings like a woman. This disparity is made even clearer if, as in this case, there is also spoken dialogue. The term travesty (from the Italian travesti, disguised) applies to any roles sung by the opposite sex. A closely related term is a skirt role, a female character to be played by a male singer, usually for comic or visual effect. These roles are often ugly stepsisters or very old women, and are not as common as trouser roles. As women were not allowed to sing on stage in the Papal States until the end of the 18th century, although not elsewhere in Europe, many female operatic roles which premiered in those areas were originally written as skirt roles for castrati (e.g. Mandane and Semira in Leonardo Vinci's Artaserse). The Madwoman in Britten's Curlew River and the Cook in Prokofiev's The Love for Three Oranges are later examples. The role of the witch in Humperdinck's Hänsel und Gretel, although written for a mezzo-soprano, is now more regularly sung by a tenor, who sings the part an octave lower. In the same opera the "male" roles of Hänsel, the Sandman, and the Dewman are however meant to be sung by women. Operas with breeches roles include: Adès's The Tempest: "Ariel" is sung by a soprano Arne's Artaxerxes: "Arbaces" is sung by a mezzo-soprano Bellini's Bianca e Fernando: "Viscardo" is sung by a mezzo-soprano Bellini's Zaira: "Nerestano" is sung by a mezzo-soprano Bellini's I Capuleti e i Montecchi: "Romeo" is sung by a mezzo-soprano Berg's Lulu: "Der Gymnasiast" (a Schoolboy) is sung by a contralto Berlioz's Benvenuto Cellini: "Ascanio" is sung by a mezzo-soprano Berlioz's Les Troyens: "Ascanio" is sung by a soprano Catalani's La Wally: "Walter" is sung by a soprano Chabrier's L'étoile: "Lazuli" the peddler is sung by a soprano Chabrier's Une éducation manquée: "Gontran de Boismassif" is sung by a soprano Charpentier's David et Jonathas: "Jonathas" is sung by a soprano; La Pythonisse is sung by an haute-contre, which is a high-pitched male voice, similar to a Countertenor. Corigliano's The Ghosts of Versailles: "Cherubino" (a recreation of the same character from Le nozze di Figaro) is sung by a mezzo-soprano