Ulteriori informazioni
This book surveys the myriad and creative changes that have affected
The Barber of Seville since its premiere, exploring many of the personalities responsible for those alterations and taking into account the range of reactions that these changes have prompted in spectators and critics from the nineteenth century to the present.
Sommario
- About the Companion Website
- Acknowledgments
- A Note on the Title
- Archives and Sources
- Introduction: "Bravo Figaro, Bravo Bravissimo!"
- 1. A Whirlwind of Change
- 2. Early Revivals: Almaviva, Bartolo, and Their Many Ways
- 3. The World of Rosina and the Prima Donna's Playground
- 4. A Return to Rossini
- 5. The Untethered Splendor of Il barbiere di Siviglia
- Additional Sources for Reading
- Notes
- Index
Info autore
Hilary Poriss is Professor of Music in the Department of Music and the College of Arts, Media and Design at Northeastern University. Her primary research interests are in the areas of 19th-century Italian and French opera, performance practice, diva culture, and the aesthetics of 19th-century musical culture. She is the author of Changing the Score: Arias, Prima Donnas, and the Authority of Performance (Oxford, 2009), and co-editor of Fashions and Legacies of Nineteenth-Century Italian Opera (2010) and The Arts of the Prima Donna in the Long Nineteenth Century (Oxford, 2012). Her articles and reviews have been published in 19th-Century Music, Cambridge Opera Journal, Nineteenth-Century Music Review, Verdi Forum, Journal of British Studies, Music & Letters, and other musicological books and journals.
Riassunto
This book surveys the myriad and creative changes that have affected The Barber of Seville since its premiere, exploring many of the personalities responsible for those alterations and taking into account the range of reactions that these changes have prompted in spectators and critics from the nineteenth century to the present.
Testo aggiuntivo
Poriss's history of adaptation, revision, and repurposing is a tale even more madcap than the opera's original plot. In her signature witty prose she excels, and exults, in recounting the glorious messiness of what happens when audiences and performers love an opera enough to keep reinventing it. Delightful.
