Hilary Poriss – författare

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.

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.

Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters - and the celebrated women who played them - still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience.Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists - a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself.The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.

Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters - and the celebrated women who played them - still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience.Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists - a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself.The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.

This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e I Montecchi; and Adelina Patti's "mini-concerts" in the lesson scene of Il barbiere di Siviglia. The final chapter provides a treatment of a short story, "Memoir of a Song," narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern addition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.