L’impronta archetipica sul divenire dell’opera nel secondo Novecento. (In margine a Un re in ascolto di Luciano Berio e a Prometeo di Luigi Nono)

Abstract

On 6 November 1907 Kenneth Muir, manager of the Milanese branch of The Gramophone Company, described Luisa Tetrazzini in terms that do not sound flattering to our modern ears: «In character she is capricious and wayward and if you wish to succeed in obtaining her you must pamper her like a spoiled child by sending her gifts, boxes for theatres, paying her compliments and little personal attentions; in a word you must appeal to the woman in her nature. She is extremely dissolute in her private life and much affected by flattery and champagne». This account finds further confirmation in a number of contemporary reviews describing Tetrazzini as a dissolute star a diva who, on stage as in her private life, followed the whim of the moment. This contribution investigates whether and to what extent the stereotyped image that accompanied Tetrazzini’s long career qualifies also her interpretive choices. Despite this widespread image and its negative connotation, the analysis of her recordings of arias from Rossini, Donizetti, Bellini and Verdi suggests that she was aware of the relevant styles and conventions, made careful interpretative choices, and remained consistent with them throughout the years.