Overview

Through a wealth of archival documents and printed materials, Entangled Histories shows how, over the first half of the nineteenth century, opera helped redefine questions of collective identity in the Austrian empire, serving as a testing ground for, among others, theories of language and education, notions of fatherland and citizenship, artistic expressions of cultural hybridity, new forms of managing economic and cultural capital, and practices of collective memory. By emphasizing the entanglements between opera's aesthetics, its social function, and the ideology underpinning its system of production in different institutional and urban contexts, this book places opera at the intersection of a broad set of political and cultural relationships that for several decades connected Vienna and prominent Italian operatic centers, contributing to a transnational historiography of the art form in the nineteenth century. It also argues that new modes of production and dissemination of opera between Vienna and the Italian states contributed to official cultural policies promoting a supranational identity of the Austrian empire-one that acknowledged, but ultimately transcended cultural differences. As the state emerged victoriously yet completely transformed from over two decades of wars against revolutionary and Napoleonic France, opera-with its long tradition of impresarios, composers, librettists, and performers on the move-became a key tool for bringing some of the different cultural traditions of the Austrian empire into a fruitful mutual dialogue.

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9780197656563

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Reviews

The author's important research offers striking insights into how Italian opera in Vienna - the city that invented ""classical"" music as we know it, with Haydn, Mozart, Beethoven and Schubert - intersected with the political concerns of Metternich and the multicultural Habsburg Empire. * Larry Wolff, Times Literary Supplement *

Author Information

Claudio Vellutini is Associate Professor of Musicology at the University of British Columbia. He has published extensively on 19th-century opera, performers, and opera houses in 19th-Century Music, Cambridge Opera Journal, the Journal of the American Musicological Society, and in a number of edited volumes.

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