Transatlantic Arias: Early Opera in Spain and the New World

Employing current theories of ideology, propaganda and musical reception, "Transatlantic Arias" examines the development and impact of early opera in Spain and the Americas through close examination of the New World's first three extant operas. What emerges is an amazing history works for their time and place, which are also critical for illuminating inimitable perspectives on the cohabitation and ollaboration of indigenous groups and Europeans.

CONTENIDO:

Acknowledgements

Introduction: Manipulating the masses? Ideology and early operas

1. A European invention: The genesis of opera in Europe
-The origins and development of opera in Early Modern Europe
-An Italian revolution: The expansion of opera in Europe

2. Opera in Spain and the New World: Transatlantic opera and its origins
-Opera and musical culture in the New World

3. Opera in the City of Kings: Tomás de Torrejón's "La púrpura de la rosa"
-Funding the arts in Lima: The political and social
-Responsibility of aesthetics
-Opera and ideological agenda
-Ideology and persuasion in Torrejón's "Loa" to "La púrpura de la rosa"

4. Sacred arias: Intercultural engagement and musical culture in the Jesuit misssions of South America
-Mission musical culture
-Domenico Zipoli's "San Ignacio de Loyola" and Jesuit strategies of evangelization
-"San Francisco Xavier": The emergence of indigenous opera

Conclusion: Past forward: The Legacy of Early New World opera

Works cited

Index