Following thematic and theoretical lines set out in two recent ground-breaking studies by Emanuele Senici on Rossini’s music, this article questions Italian discourse on the Rossini renaissance. It thus highlights the identity-related meanings for Italians of three crucial moments in the history of this renaissance: in 1925, with the "cycle Rossini" at the Théâtre des Champs-Élysées in Paris; in 1952, with the "Armida" at the Maggio musicale fiorentino with Maria Callas in the title role; in 1969, with the Italian debut of the critical edition of the "Barber of Seville" at the Scala in Milan.
Vernazza, R. (2023). Rossini renaissance(s) e discorsi identitari italiani: a margine di due studi di Emanuele Senici. QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN, 103(1), 471-484 [10.1515/qufiab-2023-0024].
Rossini renaissance(s) e discorsi identitari italiani: a margine di due studi di Emanuele Senici
Vernazza, Ruben
2023-01-01
Abstract
Following thematic and theoretical lines set out in two recent ground-breaking studies by Emanuele Senici on Rossini’s music, this article questions Italian discourse on the Rossini renaissance. It thus highlights the identity-related meanings for Italians of three crucial moments in the history of this renaissance: in 1925, with the "cycle Rossini" at the Théâtre des Champs-Élysées in Paris; in 1952, with the "Armida" at the Maggio musicale fiorentino with Maria Callas in the title role; in 1969, with the Italian debut of the critical edition of the "Barber of Seville" at the Scala in Milan.
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