The revolutionary processes that led to the dissolution of the Spanish colonial empire in the Americas formed an entangled process. The states that emerged from these processes built their new national identities around the heroes and the deeds of the independence period from roughly 1760-1830. These hero myths are still important markers of identity today. The chapter explores the main interpretations of Spanish American independence, presents conflicting periodizations, and then discusses the events from the crisis of the empire, colonial reactions to the different phases of independence (1810-1814 and 1814-1830). Finally, it demonstrates that many revolutionary promises remained unfulfilled. Everywhere in the Spanish possessions the motivation for revolution was the problem of legitimacy arising from the French invasion of the Iberian Peninsula. The individual experiences of revolution, however, were very different and ranged from popular uprisings to elite-led exchanges of ruling oligarchies. The ethnic dimension, which overlapped with the social problem, was a unique feature of the Spanish American revolutions of independence. It contributed to boosting the ideas of freedom, equality and self-determination. Until 1830 and long after, this explosive force could not yet unfold. What remained was the promise of the revolution.

The chapter examines Alberto Franchetti’s Germania, written primarily for the Italian opera market and premiered at the Teatro alla Scala in Milan (1902); and Ruggero Leoncavallo’s Der Roland von Berlin, commissioned by the German Emperor Wilhelm II to celebrate the Hohenzollern dynasty, and premiered at the Berlin court opera in 1904. Starting with a brief summary of the two operas’ origins and plots, the chapter illustrates how in both cases operatic italianità was used to represent German national myths. Conventional concepts of operatic italianità were challenged through musical references to German folk songs. German critics employed generic meanings of italianità to articulate their disdain at these 'foreign' depictions of national identity, claiming an exclusive right for German composers to write on patriotic topics. As a consequence, productions of Franchetti’s and Leoncavallo’s works in Imperial Germany provoked some of the most hostile reactions ever articulated against Italian composers during the years before World War I. Furthermore, the defamation of Leoncavallo included a barely concealed criticism of the emperor himself.