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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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Making Their Way through the World: Italian One-Hit Wonders

Making Their Way through the World: Italian One-Hit Wonders

Chapter:
(p.66) Chapter 3 Making Their Way through the World: Italian One-Hit Wonders
Source:
Changing the Score
Author(s):

Hilary Poriss

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195386714.003.0004

Prima donnas and leading men would definitely go to great lengths in choosing the right insertions for their appearances in opera performances. In spite of the endeavors that Carolina Ungher went through in selecting the cavatina for Elena in Marino Faliero, other opera singers would not normally undertake that complex a decision-making process, and instead would adopt a more direct approach, since they would only choose one aria for a given scene and use that throughout the rest of the performances. Choosing the appropriate arias is associated with trunk arias, as this aria is carried over from town to town. In this chapter, the author clarifies the conception of the trunk aria by introducing a second model that involved a communal element performed by many singers as substitutes and/or interpolations—the “favorite insertion”.

Keywords:   prima donna, leading man, Carolina Ungher, aria, favorite insertion, trunk arias

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