Transatlantic Opera in Spain and the New World in the 17th and Early 18th Centuries

dc.contributor.author Gasta, Chad
dc.contributor.author Gasta, Chad
dc.contributor.department World Languages and Cultures
dc.date 2018-07-03T17:04:10.000
dc.date.accessioned 2020-06-30T05:46:47Z
dc.date.available 2020-06-30T05:46:47Z
dc.date.copyright Mon Jan 01 00:00:00 UTC 2018
dc.date.issued 2018-03-01
dc.description.abstract <p>Opera was performed in the Spanish-speaking New World colonies almost a century before what later would become the United States. The first operas staged in the Spanish colonies were wildly elaborate projects funded by the viceroys—Tomás de Torrejón y Velasco’s <em>La púrpura de la rosa</em>, in Lima, Peru, in 1701, and Manuel Zumaya’s <em>Parténope</em>, in Mexico City in 1711. These were followed by two operas written to convey religious didactic messages in the remote Jesuit Missions of South America: Domenico Zipoli’s <em>San Ignacio</em>(ca. 1720) and the anonymous <em>San Xavier</em> (ca. 1730), the latter of which was composed in the indigenous Bolivian Chiquitano language with a parallel Spanish <em>libretto</em>. All derived from the Italian opera tradition but were decisively shaped by Spanish musical theater, and they were indebted to the first operas in Madrid, which predated them: Félix Lope de Vega y Carpio’s fully sung <em>La selva sin</em> amor, from 1627, performed by the Florentine delegation, and a pair of operas from 1659 and 1660 by Pedro Calderón de la Barca, <em>La púrpura de la rosa</em> (whose libretto served as the basis for Torrejón’s 1701 version) and <em>Celos aun del aire matan</em>. These early Spanish operas were part of a process of political and ideological posturing since they were funded and produced either by nobility intent on displaying their wealth, prestige, and power, or by leaders of the Church who were seeking to impart a particular religious message to embolden its influence. These grand spectacles did not usher in a stunning opera tradition in Spain, any more than their progeny in the New World would. For a variety of financial, political, and cultural reasons, a sustained or successful opera tradition would not occur until the second half of the 19th century in Spain or the New World. Perhaps importantly, these productions reflected the movement of goods and people from the Old World to the New, and opera played an exceptional role in shaping political and social events in the metropolitan centers and in minority peripheries in both Spain and the New World.</p>
dc.description.comments <p>This is a draft of a chapter <em>Transatlantic Opera in Spain and the New World in the 17th and Early 18th Centuries</em> that has been accepted for publication by Oxford University Press in the forthcoming <em>The Oxford Research Encyclopedia of Latin American History</em> edited by William Beezley due for publication in 2018. DOI: <a href="http://dx.doi.org/10.1093/acrefore/9780199366439.013.395" target="_blank">10.1093/acrefore/9780199366439.013.395</a>. Posted with permission. </p>
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dc.identifier archive/lib.dr.iastate.edu/language_pubs/158/
dc.identifier.articleid 1155
dc.identifier.contextkey 12411918
dc.identifier.s3bucket isulib-bepress-aws-west
dc.identifier.submissionpath language_pubs/158
dc.identifier.uri https://dr.lib.iastate.edu/handle/20.500.12876/52684
dc.language.iso en
dc.source.bitstream archive/lib.dr.iastate.edu/language_pubs/158/2018_GastaCM_manu_Transatlantic_Opera_in_Spain_and_the_New_World.pdf|||Fri Jan 14 20:46:54 UTC 2022
dc.source.uri 10.1093/acrefore/9780199366439.013.395
dc.subject.disciplines Acting
dc.subject.disciplines Dance
dc.subject.disciplines Music Performance
dc.subject.disciplines Performance Studies
dc.subject.disciplines Spanish Literature
dc.subject.keywords early opera
dc.subject.keywords music for indoctrination
dc.subject.keywords lyrical theater
dc.subject.keywords zarzuela
dc.subject.keywords comedia
dc.subject.keywords Calderón de la Barca
dc.subject.keywords Lope de Vega
dc.subject.keywords Tomás de Torrejón y Velasco
dc.subject.keywords Domenico Zipoli
dc.subject.keywords Manuel Zumaya
dc.title Transatlantic Opera in Spain and the New World in the 17th and Early 18th Centuries
dc.type article
dc.type.genre book_chapter
dspace.entity.type Publication
relation.isAuthorOfPublication 2c539a5b-49fe-413e-a6f9-f482b9d64071
relation.isOrgUnitOfPublication 4e087c74-bc10-4dbe-8ba0-d49bd574c6cc
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