 In parallel, by Handel's time, castrati had come to dominate the English operatic stage as much as that of Italy (and indeed most of Europe outside France).They also took part in several of Handel's oratorios, though countertenors, too, occasionally featured as soloists in the latter, the parts written for them being closer in compass to the higher ones of Purcell, with a usual range of A3 to E5.They also sang the alto parts in Handel's choruses.