‚Rossini renaissance(s)‘ e discorsi identitari italiani

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.