Abstract
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.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Quellen und Forschungen aus italienischen Archiven und Bibliotheken
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
