Opera in Transnational Contexts

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.

• IntroductionSection One: Identity, Adaptation, Genre1. 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 OperaSection Two: Networks and Impresarios: The Mechanics of the Business4. Consuming Operetta: Gender, Genre and the Bandmann Opera Company in Early Twentieth-Century Japan, 5. A Global History of the Italian Opera Industry: from Milan to South America (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 ArenaSection Three: The Transnational Reception of Singing and Singers8. 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-DemeurSection Four: Repertoires, Production and Localities11. 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