Argento's opera makes numerous changes in the characters, plot and setting of Henry James' novella. For instance: Aspern is a composer, not a poet; Juliana, an opera singer; the locale is changed from
Venice to
Lake Como. Juliana Bordereau, a former prima donna and the mistress of the deceased composer Jeffrey Aspern, is living with her spinster niece Tina in a villa on the edge of Lake Como. A stranger appears, requesting that the women rent him rooms. The Lodger is a scholar and biographer of Aspern, and believes that Juliana may possess papers and memorabilia of the composer, including possibly the score of an operatic masterpiece based on Medea that Aspern wrote for Juliana shortly before his death fifty years earlier (and believed to be lost). The action alternates between two time periods: 1885, when the Lodger is attempting to discover whether the papers exist at the villa, and 1835, where the audience sees the young Juliana and Aspern, learns about the relationship between Aspern and a younger soprano, Sonia, and the death of Aspern. Returning to 1885, the Lodger has learned that the Juliana still possesses Aspern's papers. Juliana dies, and Tina suggests that the Lodger may have the Medea score if he will marry her. He rejects her offer and plans to leave the next day. In the morning, he tells Tina that he has changed his mind and must have the score. She tells him it is too late, and he departs. Later, alone in her music room, Tina drops the score of the opera – page by page – into a fire. ==Subsequent productions==