The result is a bright, powerful tone, often very high-pitched, although the sound is still different from and more feminine than what is produced by the modal voice.
According to various authors,[2] baroque and neoclassical tenors simply used falsetto to sing high notes, with the exception of hautes-contre, who could reach up to B♭ in what was claimed to be the modal voice register.
Even the famous F5 of Bellini’s I Puritani, which used to be left out or sung falsetto (for example by Luciano Pavarotti) has often been performed with a more "chesty" voice by the new bel canto tenor generation of the late 20th century.
Falsettone is however employed in many renditions of classical baroque music, of which Monteverdi, Handel are names worth of mention, pioneers of this genre, by male singers, tenors but often even baritones or lower, taking roles which used to be of castrati.
In that same period Italian musicologist Rodolfo Celletti, who was also an amateur singing teacher, tried to restore the falsettone technique, training the tenor Giuseppe Morino, who made his debut singing the tenore contraltino role of Gualtiero in Bellini’s Il pirata, at the Festival della Valle d'Itria in Martina Franca.