Opera in a Multicultural World: Coloniality, Culture, Performance

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Introduction Opera, Multiculturalism, and Coloniality Mary I. Ingraham, Joseph K. So, and Roy Moodley
Part I : Opera as Tradition
1. Jazz, Opera, and the Ideologies of Race Linda Hutcheon and Michael Hutcheon
2. Blacks and Blackface at the Opera Robin Elliott
3. From Chinatown Opera to The First Emperor : Racial Imagination, the Trope of "Chinese Opera" and New Hybridity Nancy Yunhwa Rao
4. The Other Within: Negotiating Musical Citizenship in Canadian Opera Mary Ingraham
5. Playing the Race Card: Anti-Semitism and Wagner (R) Nicholas Vazsonyi
Part II : Critical Case Studies
6. Joseph Haydn's Judaizing of the Apothecary-Take 2 Caryl Clark
7. Strauss and Racial Science Sander L. Gilman
8. Their Meister's Voice: Nazi Reception of Richard Wagner and His Works in the Voelkischer Beobachtez David B. Dennis
9. Returning to Where She Didn't Come From: Turandot on the Chinese Stage Josh Stenberg
10. Reflections on a Most Unusual Parsifal : Bayreuth and Christoph Schlingensief Frances Henry
11. Racism and Sexism: Melodies that Continue to Soar on the Operatic Landscape Wallace Cheatham
Part III : Opera in the Real World
12. Jazzing Up Opera: A Defence of Quebecite George Elliott Clarke
13. Voices from the Gallery: Perceptions, Perspectives and Pleasures of the Opera Audience Deanna Davis, Joseph K. So, and Roy Moodley
14. Constructing Operatic Racism in Postmodern Cultural Studies Frances Henry and Carol Tator

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Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world. It reveals their approaches to reflecting identity, transmitting meaning, and inspiring creation, as well as the ambiguities and contradictions that occur across the time and place(s) of their performance. This collection brings academic researchers in opera studies into conversation with previously unheard voices of performers, critics, and creators to speak to issues of race, ethnicity, and culture in the genre. Together, they deliver a powerful critique of the perpetuation of the values and practices of dominant cultures in operatic representations of intercultural encounters. Essays accordingly cross methodological boundaries in order to focus on a central issue in the emerging field of coloniality: the hierarchies of social and political power that include the legacy of racialized practices. In theorizing coloniality through intercultural exchange in opera, authors explore a range of topics and case studies that involve immigrant, indigenous, exoticist, and other cultural representations and consider a broad repertoire that includes lesser-known Canadian operas, Chinese- and African-American performances, as well as works by Haydn, Strauss, Puccini, and Wagner, and in performances spanning three continents and over two centuries. In these ways, the collection contributes to the development of a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others connected to Theatre, Gender, and Cultural Studies.

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