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by Hilary Poriss (Author)
Gioachino Rossini's The Barber of Seville surveys the opera's fascinating performance history, mapping out the myriad changes that have affected the work 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. Opening with a wide-ranging overview of the types of alterations that have been imposed on Rossini's score for the past two centuries, the first chapter addresses the mechanics behind these changes as well as the cultural forces that both fostered and encouraged them. The book next looks at some of the opera's earliest revivals, drawing attention to alterations that were made to the score and to individual singers who were responsible for the changes, especially those who appeared in the roles of Almaviva and Bartolo. An entire chapter is devoted to Rosina, examining the wide array of
creative liberties that prima donnas have unremittingly and unrepentantly taken with their interpretations of Rossini's character. The final sections turn to the opera's recent history, observing how the Rossini Renaissance brought with it a new dedication to the "work concept" and to shedding the types of alterations that had long characterized performances of this work. The book closes with a consideration of operatic consumerism from the nineteenth century to the present, exploring the myriad ways that one can now experience The Barber of Seville in all its recorded, digitized, and commodified glory.
Author Biography
Hilary Poriss is Associate 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.
