As it is Lent season: Stabat mater settings by Alessandro Scarlatti and Pergolesi (Soprano/Alto), Lecons de tenebres by Couperin (alto).
Most operas from the age of castrati (mid 17th- late 18th century, up to Mozart's Clemenza di Tito and even some of Rossini's) are dominated by high voices. Typically, there were two main rôles for castrati (usually alto/mezzo) and two main females. In addition often one bass and/or tenor (villain or elderly man) and another minor role or two for high voices.
E.g. Handels Julius Caesar:
Giulio Cesare – Francesco Bernardi „Senesino“ (Mezzosoprano) castrato, primo uomo
Cleopatra – Francesca Cuzzoni (Soprano) prima donna
Cornelia – Anastasia Robinson (Alto) seconda donna
Sesto – Margherita Durastanti (Soprano) (a boy rôle sung by a woman)
Tolomeo – Gaetano Berenstadt (Alto) castrato, secondo uomo
Achilla – Giuseppe Maria Boschi (Bass)
Nireno – Giuseppe Bigonzi (Alto) another castrato
Curio – John Lagarde (Bass)
the last two are minor rôles.
So you get 6 high voices out of 8 singers and one Achilla is a major character.
Of course, nowadays the castrato rôles are often sung by males and these voices are not liked by everyone. But one can probably find a few recordings with mostly females. E.g. Handel's Orlando and Alcina with Christie conducting have females for all the main castrato parts, same for the Alcina with Hickox (Auger in the title).
If full scale opera seria seems a bit long there are hundreds of shorter pieces (cantatas, serenatas etc.) in the baroque opera style by Handel, Scarlatti, Caldara, Bononcini etc. often for one or two soprano/alto singers. But of course one has to like that style.
