Book contents
- Carmen Abroad
- Carmen Abroad
- Copyright page
- Contents
- Figures
- Tables
- Preface
- Acknowledgements
- Notes on Contributors
- Part I Establishment in Paris and the Repertoire
- Part II Across Frontiers
- 7 A New Performance for the New World: Carmen in America
- 8 The Unstoppable March of Time: Carmen, and New Orleans in Transition
- 9 The Return of the Habanera: Carmen’s Early Reception in Latin America
- 10 From Spain to Lusophone Lands: Carmen in Portugal and Brazil
- 11 Carmen in the Antipodes
- 12 Carmen, as Seen and Heard in Victorian Britain
- 13 Celtic Carmens: Rebellion and Redemption
- 14 Carmen for the Czechs and Germans, 1880 to 1945
- 15 Carmen in Poland prior to 1918
- 16 A Woman or a Demon: Carmen in the Late Nineteenth-Century Nordic Countries
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
10 - From Spain to Lusophone Lands: Carmen in Portugal and Brazil
from Part II - Across Frontiers
Published online by Cambridge University Press: 18 September 2020
- Carmen Abroad
- Carmen Abroad
- Copyright page
- Contents
- Figures
- Tables
- Preface
- Acknowledgements
- Notes on Contributors
- Part I Establishment in Paris and the Repertoire
- Part II Across Frontiers
- 7 A New Performance for the New World: Carmen in America
- 8 The Unstoppable March of Time: Carmen, and New Orleans in Transition
- 9 The Return of the Habanera: Carmen’s Early Reception in Latin America
- 10 From Spain to Lusophone Lands: Carmen in Portugal and Brazil
- 11 Carmen in the Antipodes
- 12 Carmen, as Seen and Heard in Victorian Britain
- 13 Celtic Carmens: Rebellion and Redemption
- 14 Carmen for the Czechs and Germans, 1880 to 1945
- 15 Carmen in Poland prior to 1918
- 16 A Woman or a Demon: Carmen in the Late Nineteenth-Century Nordic Countries
- Part III Localising Carmen
- Selected Bibliography
- Index
- References
Summary
From the time of their premieres, Carmen was an immediate success both in Portugal (Lisbon, 1885, in Italian) and, before this, in Brazil (Rio de Janeiro, 1881, in French). By 1915, thanks to travelling companies, principally Italian and French, the opera was widely known and popular throughout both countries, reaching not only principal cities on the coast or up river, but also in the interior, accessible through the increasing railway networks, particularly striking in the hinterland of São Paulo. Performance conditions were very variable, with difficulties often experienced in relation to the orchestra and choruses. Audiences in Lisbon had very high expectations, which were rarely met, while in Brazil reception was much more spontaneous and appreciative. Parodies of Carmen, imported and locally produced, were a feature in both countries. In 1911 a travelling children’s company in Rio, São Paulo and the south of Brazil raised questions in the local press about working conditions and particularly child labour.
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- Carmen AbroadBizet's Opera on the Global Stage, pp. 158 - 170Publisher: Cambridge University PressPrint publication year: 2020
References
Newspapers and Periodical Literature
Arte Musical (Lisbon)
Correio Paulistano (São Paulo)
Diario de Pernambuco (Recife)
Diario Illustrado (Lisbon)
A Federação (Porto Alegre)
Gazeta de Noticias (Rio de Janeiro)
Jornal do Commercio (Manaus)
Jornal do Porto (Porto)
Il Lavoro (Piracicaba, São Paulo)
A Noticia (Rio de Janeiro)
Novidades (Rio de Janeiro)
O Occidente (Lisbon)
O Paiz (Rio de Janeiro)
O Primeiro de Janeiro (Porto)
A Republica (Belém)
O Seculo (Rio de Janeiro)
A Vida Moderna (Rio de Janeiro)