Description:
<jats:p>Between 1812 and 1816 Rossini took Italian stages by storm and performances cycles of his operas soared in an unprecedented way. The present essay investigates the fundamental role played by self-borrowing in this achievement. As it will be preliminarily clarified, at least for Rossini, self-borrowing does not represent a sub-category of borrowing (i.e. from others: he seldom resorted to other composers’ works), but a peculiar characteristic of his compositional habit, a weapon used to spread his signifiers throughout different stages and genres.</jats:p>
<jats:p>This article focuses on a case study: <jats:italic>La gazzetta</jats:italic>, an opera deeply rooted in the tradition of the <jats:italic>opera comica</jats:italic> in Neapolitan, whose authoriality normally resided more in performers (in this case, in the well-known actor/singer Carlo Casaccia) than in poets or composers. Special attention will be given to the use of self-borrowings in some key pieces of the opera, including the recently rediscovered Act I quintet. The essay aims to demonstrate that self-borrowings, far from being a mere time-saving device, helped Rossini to overpower Casaccia's distinctive way of expression, depriving him of his authoriality and of his own voice. With <jats:italic>La gazzetta</jats:italic>, Rossini conquered the last outpost; after 1816, the mastery of Italian stages (and genres) belonged only to him.</jats:p>