Opera in Transnational Contexts

Introduction

Section I: Identity, Adaptation, Genre

1. Opera and Modernity in Independent Latin America (1820â"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 Caff¨ 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 (Bogot¡) 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. Adj¶ Mimi! Margit Rosengren and the Transfer of Popular Musical Theatre to Sweden in the 1920s

14. Constructing Opera: Transnational Forces in Opera in Australia (1955â"1985) â" A Building, a Diva and Three Musical Directors