Abstract
"The book moves towards a global narrative for opera across two centuries, from the late eighteenth to the late twentieth century. Contributors reveal how complex constructions of identity and cultural value have been forged through the circulation, production, translation, adaptation and reception of different operatic and non-operatic genres. Engaging with decolonial agendas in North Africa, postcolonial and imperial history in Latin America, cultural dissonances and hegemonic aspirations in Japan, localities and peripheries from the Old World to Australia, and the centrality of Europe in historiographies of opera, chapters examine the dynamics and multifaceted effects of transnational mobility. Whether looking at travelling troupes or impresarios, singers' performances or composers' works, audiences' responses or critics' evaluation of the operatic spectacle, the authors unravel the intricate negotiations of meaning that the circulation of sets of practices from one cultural tradition (and geographical area) to another entail. All chapters rely on the primary sources of reception and production studies, including newspapers and the specialist press, pedagogical and travel literature, diaries and memoirs, billboards and posters, costume and set designs, libretti, original score manuscripts, editions and adaptations"-- Provided by publisher.