19世纪浪漫主义时期，歌剧创作趋于表现人们日常生活，反应了社会对个性解放的渴望。梅耶贝尔创作的法国大歌剧《新教徒》（Les Huguenots）和约翰·施特劳斯创作的轻歌剧《蝙蝠》（Die Fledermaus）应运而生，在欧洲声乐发展史上占领了一席之地。在这两部歌剧中，女中音反串角色人物分别设定为王后侍童于尔班（Urbain）和年轻的俄国王子奥洛夫斯基（Orlofsky），二者虽为小角色，但以鲜明的人物形象有力推动了剧情的发展。

本文将分为四个章节进行讨论。第一章节是女中音反串角色的形成，从音乐史的角度梳理女中音反串角色的诞生历程，归纳女中音的艺术特性。第二个章节总结两部歌剧的创作背景和剧情概述。第三、四章节是论文的主体部分，主要以两部歌剧中女中音反串角色为例，对人物咏叹调的音乐特征、演唱处理和表演细节进行分析，分析女中音反串角色在歌剧中的人物魅力，论证人物设定的必然性，为演唱者更好地掌握咏叹调的戏剧发展节奏，演绎女中音反串角色提供一定的理论方法依据。

During the Romantic period of the 19th century, opera creation tended to express people's daily lives and reflect society's desire for individual liberation. The French grand opera Les Huguenots created by Mayer Bell and the operetta Die Fledermaus created by John Strauss came into being, occupying a place in the history of European vocal music. In these two operas, the characters of mezzo-soprano cross dressing are set as Urbain, the queen's maid, and Orlofsky, the young Russian prince. Although they are small characters, they strongly promote the development of the plot with distinctive characters.

This article will be divided into four chapters for discussion. The first chapter is the formation of the role of mezzo-soprano cross cutting, combing the birth process of the role of mezzo-soprano cross cutting from the perspective of music history, and summarizing the artistic characteristics of mezzo-soprano. The second chapter summarizes the creative background and plot overview of the two operas. The third and fourth chapters are the main part of the paper, mainly taking the role of mezzo-soprano cross dressing in two operas as an example, to analyze the musical characteristics, singing treatment and performance details of the character aria, analyze the character charm of mezzo-soprano cross dressing in the opera, demonstrate the inevitability of character setting, and provide a theoretical basis for singers to better grasp the rhythm of aria's dramatic development and perform the role of mezzo-soprano cross dressing.