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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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Maria Malibran, I Capuleti e i Montecchi, and a Tale of Suicide

Maria Malibran, I Capuleti e i Montecchi, and a Tale of Suicide

Chapter:
(p.100) chapter 4 Maria Malibran, I Capuleti e i Montecchi, and a Tale of Suicide
Source:
Changing the Score
Author(s):

Hilary Poriss

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195386714.003.0005

Evidently, regardless of which theater the production was being performed in, which impresario was in authority, and who was included in the cast of singers, Italian opera allowed the incorporation of favorite insertions and trunk arias. None of the works, especially the music associated with the opera, composed before 1840 and no matter who the composer was, was immune to replacement. Some of the operas being performed along the repertory were not exempted from undergoing excessive change as singers used arias in substituting and interpolating that brought about random moments in the scores. The older the opera gets and the longer it is being performed, the possibility for such changes to occur rises. Also, these changes were leaning towards one or two particular sites within individual scores, thus making aria insertion more predictable.

Keywords:   favorite insertions, trunk arias, music, interpolation, substitution, aria insertion, individual scores

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