Following Purcell's premature death, his opera "Dioclesian" remained popular until well into the eighteenth century, but the score of "The Fairy-Queen" was lost and only rediscovered early in the twentieth century. Other works like it fell into obscurity. Changing tastes were not the only reason for this; the voices employed had also become difficult to find. The list of singers below shows the frequent employment of the male alto, or "countertenor", in the semi-opera, a voice which, after Purcell, essentially vanished from the stage, probably due to the rise of Italian opera and the attendant castrati. After that Romantic opera emerged, with the attendant predominance of the tenor. Until the early music revival, the male alto survived mainly in the ecclesiastical tradition of all-male church choirs and twentieth-century American vocal quartets.