La Fille du régiment, composed by Donizetti for the Opéra-Comique in 1840 and immediately transformed into La figlia del reggimento for the Teatro alla Scala de Milan, allows us to compare the morphological and dramaturgic conventions of French opera and Italian opera. Donizetti, besides modifying the setting and replacing spoken dialogue with sung recitatives, also substitutes or reshapes unsuitable pieces into the style and the forms of the Italian tradition.
De «La Fille du régiment» à «La figlia del reggimento». Identité nationale et transfert culturel / C. Toscani. - In: EUROPEAN DRAMA AND PERFORMANCE STUDIES. - ISSN 2266-9035. - 2:15(2020), pp. 93-116. [10.15122/isbn.978-2-406-10777-4.p.0093]
De «La Fille du régiment» à «La figlia del reggimento». Identité nationale et transfert culturel
C. Toscani
2020
Abstract
La Fille du régiment, composed by Donizetti for the Opéra-Comique in 1840 and immediately transformed into La figlia del reggimento for the Teatro alla Scala de Milan, allows us to compare the morphological and dramaturgic conventions of French opera and Italian opera. Donizetti, besides modifying the setting and replacing spoken dialogue with sung recitatives, also substitutes or reshapes unsuitable pieces into the style and the forms of the Italian tradition.
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