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. This article focuses on a case study: La gazzetta, an opera deeply rooted in the tradition of the opera comica 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 La gazzetta, Rossini conquered the last outpost; after 1816, the mastery of Italian stages (and genres) belonged only to him.

中文翻译：

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罗西尼的自我借用作为文体武器

1812 年至 1816 年间，罗西尼风靡意大利舞台，其歌剧的演出周期以前所未有的方式飙升。本文探讨了自我借用在这一成就中所起的根本作用。初步澄清，至少对罗西尼来说，自借并不是借用的一个子类（即从他人那里：他很少借用其他作曲家的作品），而是他作曲习惯的一个特有特征，一种武器过去常常在不同的阶段和流派中传播他的能指。本文着重于一个案例研究：宪报, 一部深深植根于传统的歌剧歌剧在那不勒斯，他们的权威通常更多地存在于表演者（在这种情况下，在著名的演员/歌手 Carlo Casaccia 身上）而不是诗人或作曲家。将特别注意在歌剧的一些关键片段中使用自我借用，包括最近重新发现的第一幕五重奏。这篇文章旨在证明，自我借用不仅是一种节省时间的手段，还帮助罗西尼压制了卡萨奇亚独特的表达方式，剥夺了他的权威和自己的声音。和宪报，罗西尼征服了最后的前哨；1816 年之后，意大利舞台（和流派）的掌握只属于他。