GASTA, M. Chad

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Transatlantic arias: early Opera in Spain and the New World.

Employing current theories of ideology, propaganda and musical reception, Transatlantic Arias examines the development and impact of early opera in Spain and the Americas through close examination of the New World’s first three extant operas. What emerges is an amazing history of extraordinarily complex lyrical and musical works for their time and place, which are also critical for illuminating inimitable perspectives on the cohabitation and collaboration of indigenous groups and Europeans.


Madrid, 2013. 270pp. Encuadernación: cartoné. Idioma: inglés.

Chad M. Gasta. Transatlantic Arias: Early Opera in Spain and the New World.

TABLE OF CONTENTS:


ACKNOWLEDGEMENTS ................................................................ 9

INTRODUCTION
Manipulating the Masses? Ideology and Early Opera ............................ 11

CHAPTER ONE
A European Invention: The Genesis of Opera in Europe ...................... 33
The Origins and Development of Opera in Early Modern Europe .. 33
An Italian Revolution: The Expansion of Opera in Europe ............. 43

CHAPTER TWO
Opera in Spain and the New World: Transatlantic Opera and Its Origins 59
Opera and Musical Culture in the New World ............................... 79

CHAPTER THREE
Opera in the City of Kings: Tomás de Torrejón’s La púrpura de la rosa..... 93
Funding the Arts in Lima: The Political and Social
Responsibility of Aesthetics ............................................................ 103
Opera and the Ideological Agenda .................................................. 115
Ideology and Persuasion in Torrejón’s Loa to La púrpura de la rosa .... 127

CHAPTER FOUR
Sacred Arias: Intercultural Engagement and Musical Culture
in the Jesuit Missions of South America ................................................ 151
Mission Musical Culture ................................................................ 158
Domenico Zipoli’s San Ignacio de Loyola and Jesuit Strategies
of Evangelization ........................................................................... 176
San Francisco Xavier: The Emergence of Indigenous Opera ............... 199

CONCLUSION
Past Forward: The Legacy of Early New World Opera .......................... 221

WORKS CITED ................................................................................ 235
INDEX ............................................................................................... 249