By Hilary Poriss
This learn seeks to discover the position and importance of aria insertion, the perform that allowed singers to introduce song in their personal selection into productions of Italian operas. each one bankruptcy investigates the artwork of aria insertion throughout the 19th century from various views, starting with an outline of the altering fortunes of the perform, through explorations of person prima donnas and their courting with specific insertion arias: Carolina Ungher's problems to find a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's functionality of an aria from Pacini's Niobe in quite a few operas, and the following fortunes of that specific aria; Maria Malibran's interpolation of Vaccai's ultimate scene from Giulietta e Romeo rather than Bellini's unique atmosphere in his I Capuleti e i Montecchi; and Adelina Patti's "mini-concerts" within the lesson scene of Il barbiere di Siviglia. the ultimate bankruptcy offers a therapy of a quick tale, "Memoir of a Song," narrated through none except an insertion aria itself, and the amount concludes with an appendix containing the 1st glossy variation of this brief tale, a story that has lain completely forgotten for the reason that its booklet in 1849. This e-book covers a large choice of fabric that may be of curiosity to opera students and opera fanatics alike, bearing on the fluidity of the operatic paintings, at the reception of the singers, and at the transferring and hardening aesthetics of song feedback in the course of the interval.
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Extra resources for Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Ams Studies in Musice)
Dell’opera in musica sul teatro italiano e de’suoi difetti oﬀers a particularly valuable commentary on aria insertion primarily because its author, Nicola Tacchinardi (1772–1859), was a well-known tenor who had developed an intimate ﬁrsthand knowledge of the practice over the course of his twenty-ﬁveyear-long career. 55 Though it is unclear how frequently he employed aria insertions himself, he certainly did not shun the practice: according to extant librettos, Tacchinardi introduced what must have been one of his favorite arias, “Ma dov’è?
Le notizie del giorno ( June 15, 1826). 48. Teatri arti e letteratura 949 (September 30, 1841): 36. 49. ” Teatri arti e letteratura 655 (September 15, 1836): 15–16. 27 28 changing the score hooved him or her to feature music that was both well known and that featured their voices in the best possible light. These practical reasons clarify why some aria insertions appeared during the nineteenth century, but they cannot account for the majority. 52 It is this normalcy that surrounded the practice of aria insertion (as opposed to the circumstances oﬀered by the opera di ripiego and the beneﬁt) that this book aims to unpack.
25 24. ” ATLF, busta 4, fasc. ” Letter dated October 9, 1841, Bologna, and sent to B. Caresana, who was the secretary of the Teatro la Fenice during the 1839–1840 carnival season. 25. , Bellini: epistolario (Milan: A. Mondadori, 1943), 74–75; translated in Herbert Weinstock, Vincenzo Bellini: His Life and His Operas (New York: Knopf, 1971), 47. 21 22 changing the score Having won this battle over a prima donna’s threats to introduce an insertion aria rather than perform the “pieces as he had handed them to her,” however, it is not at all clear that he was at war with the practice as a whole.
Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Ams Studies in Musice) by Hilary Poriss