Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe

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Introduction Jens Hesselager
Part 1 - Places
1. Parisian Grand Opera at the Basel Theater auf dem Bloemlein: Traces of Transnational Circulation, Translation and Reception Laura Moeckli
2. Grand Opera in Nineteenth-Century Stockholm: Court Celebrations and Bourgeois Entertainment Karin Hallgren
Part 2 - Works
3. Cockneys in a Fever: 'Gustave' in London, 1833 Sarah Hibberd
4. Masking the Masked Ball: Auber's 'Gustav III' as 'Die Ballnacht' at the Weimar Court Theatre, 1836 Carolin Bahr
5. Halevy's La Juive in Stockholm, 1866 Owe Ander
Part 3 - Characters
6. Sympathy for the Devil? Bertram ( Robert le diable ) in Copenhagen, 1833 Jens Hesselager
7. Fenella ('La Muette de Portici') and Valentine ('Les Huguenots') as Symbols of National Identity in Helsinki, 1877 Ulla-Britta Broman-Kananen
8. Staging Anti-Semitic Stereotypes: Wainoe Sola's Eleazar at the Finnish Opera, 1925 Anne Kauppala
Part 4 - Responses 9 In Search of the National: Nineteenth-Century Portuguese Composers and their First Approaches to Grand Opera Luisa Cymbron
10. Conflicting Ethnicities on the Russian Imperial Stage: The Case of Otto Dutsch's 'The Croatian Girl' Emanuele Bonomi
11. Meyerbeer on the 'Zarzuela' Stage: El duo de 'La Africana' by Manuel Fernandez Caballero Carlos Maria Solare

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Nineteenth-century French grand opera was a musical and cultural phenomenon with an important and widespread transnational presence in Europe. Primary attention in the major studies of the genre has so far been on the Parisian context for which the majority of the works were originally written. In contrast, this volume takes account of a larger geographical and historical context, bringing the Europe-wide impact of the genre into focus. The book presents case studies including analyses of grand opera in small-town Germany and Switzerland; grand operas adapted for Scandinavian capitals, a cockney audience in London, and a court audience in Weimar; and Portuguese and Russian grand operas after the French model. Its overarching aim is to reveal how grand operas were used – performed, transformed, enjoyed and criticised, emulated and parodied – and how they became part of musical, cultural and political life in various European settings. The picture that emerges is complex and diversified, yet it also testifies to the interrelated processes of cultural and political change as bourgeois audiences, at varying paces and with local variations, increased their influence, and as discourses on language, nation and nationalism influenced public debates in powerful ways.

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