1st Edition
Opera in Transnational Contexts Circulating Identities and Cultures
Introduction
Section I: Identity, Adaptation, Genre
1. Opera and Modernity in Independent Latin America (1820–1825)
2. Reception and Creation of Musical Theatre in the Arab World: A Decolonial Approach
3. Nation and Adaptation in Eighteenth-Century Swedish Opera
Section II: Networks and Impresarios: The Mechanics of the Business
4. Consuming Operetta: Gender, Genre and the Bandmann Opera Company in Early-Twentieth-Century Japan
5. From the Caffè Martini in Milan to Atlantic South America: The Global Rise of the Italian Opera Industry in the 1840s
6. Importing and Adapting between Milan and Paris: The Case of Edoardo Sonzogno
7. Theatre and Soft Power in Fascist Italy: A Place for Opera in the International Arena
Section III: The Transnational Reception of Singing and Singers
8. Continuities and Fissures in the Cultural Reception of Italian Opera and Singers in Early-Twentieth-Century Buenos Aires
9. Translating Opera in Brazil (Rio de Janeiro) and Colombia (Bogotá) in the Nineteenth Century
10. The Diva and Transnational Singing: Anne Charton-Demeur
Section IV: Repertoires, Production and Localities
11. Transnational Italian Opera Production in Nineteenth-Century Vienna: Aida, a Case Study
12. Dreaming of Wagner: Performing Gluck and the Aspiration for a National Theatre in Japan
13. Adjö Mimi! Margit Rosengren and the Transfer of Popular Musical Theatre to Sweden in the 1920s
14. Constructing Opera: Transnational Forces in Opera in Australia (1955–1985) – A Building, a Diva and Three Musical Directors
Biography
Barbara Gentili is Senior Lecturer and Director of the Theatrical Voice Research Centre, University of Surrey.
Paulo M. Kühl is Professor of Art History and History of Opera at the Arts Institute, Universidade Estadual de Campinas (Brazil).
Clair Rowden is Professor of Musicology and Head of Music at the School of Culture and Creative Arts (SCCA), University of Glasgow.
