Overview

This paper argues that the principle of continuing a specific performance tradition contradicts the bel canto style. This era is defined by improvisation, flexibility and spontaneity - so it was much more of a ""tradition"" to vary, embellish and make each performance unique. In order to deal with the element of improvisation in a bel canto opera as a modern performer, one needs knowledge of the specific ornamentation and variation practices of the early 19th century, to which a chapter is therefore devoted. In addition, examples of firmly established performance traditions in opera literature are discussed, and finally the Ricci tradition is explained, which, alongside Garcia's singing school, is probably the most important source for performance practice in the bel canto period.

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