Book contents
- Italian Opera in Global and Transnational Perspective
- Italian Opera in Global and Transnational Perspective
- Copyright page
- Contents
- Figures
- Tables
- Examples
- Notes on Contributors
- Preface and Acknowledgements
- 1 Opera and Italianità in Transnational and Global Perspective
- 2 Giving Singers a Voice
- 3 Nina d’Aubigny’s ‘Italian Voice’
- 4 Italian Opera and Creole Identities
- 5 Italian Opera in Vormärz Vienna
- 6 Southern Exchanges
- 7 ‘For a Moment, I Felt Like I Was Back in Italy’
- 8 Reimagining Rossini
- 9 From Heaven and Hell to the Grail Hall via Sant’Andrea della Valle
- 10 Arcadia Undone
- 11 Italian Impresarios, American Minstrels and Parsi Theatre
- 12 German National Identity and Operatic Italianità
- 13 (Opera) Fever in Belle Époque Manaus
- 14 Between ‘Sung Theatre’ and Asakusa Opera
- 15 Epilogue
- Index
3 - Nina d’Aubigny’s ‘Italian Voice’
A Musical Projection Screen in German National Discourse
Published online by Cambridge University Press: 17 March 2022
- Italian Opera in Global and Transnational Perspective
- Italian Opera in Global and Transnational Perspective
- Copyright page
- Contents
- Figures
- Tables
- Examples
- Notes on Contributors
- Preface and Acknowledgements
- 1 Opera and Italianità in Transnational and Global Perspective
- 2 Giving Singers a Voice
- 3 Nina d’Aubigny’s ‘Italian Voice’
- 4 Italian Opera and Creole Identities
- 5 Italian Opera in Vormärz Vienna
- 6 Southern Exchanges
- 7 ‘For a Moment, I Felt Like I Was Back in Italy’
- 8 Reimagining Rossini
- 9 From Heaven and Hell to the Grail Hall via Sant’Andrea della Valle
- 10 Arcadia Undone
- 11 Italian Impresarios, American Minstrels and Parsi Theatre
- 12 German National Identity and Operatic Italianità
- 13 (Opera) Fever in Belle Époque Manaus
- 14 Between ‘Sung Theatre’ and Asakusa Opera
- 15 Epilogue
- Index
Summary
Around 1800, the human voice was not only considered a musical instrument; it also served as a central motif in the national historiography of music. This chapter investigates a popular source in German-speaking music pedagogy on the systematic education of the (primarily female) voice: Nina d’Aubigny von Engelbrunner’s Briefe an Natalie über den Gesang (1st ed. Leipzig 1803, 2nd ed. 1824). This 'manual' is based on thirty-one fictive letters and is heavily charged with stereotypes of 'the Italian'. The chapter discusses the multiple levels on which the idea of a decidedly Italian voice is constructed and shaped against a transnational background. A close reading shows how the voice served as a wide-ranging projection screen beyond strictly musical topics, tackling anthropological, moral, aesthetic and societal questions, all of them attempting to spread clichés of Italian music into German everyday musical life.
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- Italian Opera in Global and Transnational PerspectiveReimagining Italianità in the Long Nineteenth Century, pp. 59 - 76Publisher: Cambridge University PressPrint publication year: 2022