This book is concerned not so much with the 'prima donna' as with
prime donne: a group of working artists (sometimes famous but more
often relatively unknown and now long forgotten) and the
circumstances of their professional lives. It attempts to locate
these singers within a broader history, including not only the
specificities of operatic stage practice but the life beyond the
opera house - the social, cultural and political framing that
shaped individual experience, artistic endeavour and audience
reception. Rutherford addresses questions such as the multiple
discourses on the image of the singer and their impact on the
changing profile of the professional artist from figlia dell'arte
at the beginning of the era to middle-class woman at the end; the
aspect of the 'stage mother' and patronage; issues of vocal
training and tuition; professional life in the operatic
market-place; and performance (both vocal and dramatic) conventions
and practices.
General
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