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Changing the ScoreArias, Prima Donnas, and the Authority of Performance$
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Hilary Poriss

Print publication date: 2009

Print ISBN-13: 9780195386714

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195386714.001.0001

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Selecting a “Perfect” Entrance: Carolina Ungher and Marino Faliero

Selecting a “Perfect” Entrance: Carolina Ungher and Marino Faliero

Chapter:
(p.37) Chapter 2 Selecting a “Perfect” Entrance: Carolina Ungher and Marino Faliero
Source:
Changing the Score
Author(s):

Hilary Poriss

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195386714.003.0003

One of the most crucial factors that separate the iconic diva from all other opera singers is the capability of one to make a striking and extraordinary entrance. Despite how hard most actresses and opera singers work in developing this skill, only a select few are able to master it. A grand entrance plays no small part, not only in the production but also in the composition of Italian opera, as prima donnas and leading men were provided with a cavatina or an entrance aria. The dual function of this entrance aria involved introducing the characters of the opera and providing the singers with a solo opportunity to show themselves and their talent off. This chapter provides a discussion regarding the significance of entrance arias and the possible effects of omitting the cavatina.

Keywords:   entrance, entrance aria, cavatina, dual function, talent showcase, character introduction

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