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Donizetti’s Il furioso all’isola di San Domingo in the Iberian Peninsula

dc.contributor.authorCymbron, Luisa Mariana Oliveira Rodrigues
dc.contributor.institutionCentro de Estudos em Música (CESEM - NOVA FCSH)
dc.date.accessioned2023-06-29T22:18:32Z
dc.date.available2023-06-29T22:18:32Z
dc.date.issued2017-07
dc.descriptionUID/EAT/00693/2013
dc.description.abstractIn Portugal, an old popular saying states that "From Spain, neither a good wind nor a good marriage". This proverb reflects an anti-castilianism that hasn’t always been shared by the whole Portuguese society. But the message it expressed, even if decontextualized, allows us to understand the distances that were forged, for centuries, between the two states that make up the peninsula. In the 19th-Century, however, when perceived from Italy and by opera producing agents, the political-administrative divisions within the Iberian peninsula appeared blurred. This suggests the outset of a transnational approach. Nevertheless, neither Portuguese nor Spanish Musicology seem so far to have been interested in this type of approach. The main exception is David Cranmer’s article, “Intercâmbio entre Portugal e Espanha no campo da ópera entre 1793 e 1828” (Revista Portuguesa de Musicologia, 1 (1991), pp. 205-210), where he discusses the relationship between the theatres of the two countries and the circulation of repertoires, singers and other theatre professionals. Starting from an opera like Donizetti’s Il furioso all'Isola di San Domingo, which was premiered in Rome in 1833 and had a wide circulation in Italian theatres, this paper aims to explain the reasons and conditions that characterized its success in this geographical space. These are: 1) the fact that in some cities Rossini’s heritage enjoyed a larger acceptance than the Romantic models; 2) in Spain, the fact that the opera is based on an episode of Don Quijote; 3) in the Portuguese reception, the attempt to adapt it both to the demands of a prima donna and a more openly Romantic taste; 4) in both countries, the fascination with tropical environments, in a context of strong colonial connections with Central and South America. Finally, the opera's Iberian dissemination and reception reveals a set of regional circuits inside the Península which ultimately allows us to overcome political boundaries.en
dc.description.versionpublishersversion
dc.description.versionpublished
dc.format.extent2
dc.format.extent108146
dc.identifier.otherPURE: 3598139
dc.identifier.otherPURE UUID: d6d8721a-7850-44e1-8a2b-68a47207cd29
dc.identifier.urihttp://hdl.handle.net/10362/154632
dc.identifier.urlhttps://www.musik.unibe.ch/e39911/e155112/e178366/e621824/e621832/BookletDruckansicht260617_ger.pdf
dc.language.isoeng
dc.peerreviewedyes
dc.relationinfo:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UID%2FEAT%2F00693%2F2013/PT
dc.relationResearch Centre for the Sociology and Aesthetics of Music
dc.subjectDonizetti
dc.subjectPortugal
dc.subjectEspanha
dc.subjectIl furioso
dc.subjectTransnational
dc.titleDonizetti’s Il furioso all’isola di San Domingo in the Iberian Peninsulaen
dc.title.subtitlein search of a transnational approachen
dc.typeconference object
degois.publication.firstPage29
degois.publication.lastPage30
degois.publication.title2nd Transnational Opera Studies Conference
dspace.entity.typePublication
oaire.awardNumberUID/EAT/00693/2013
oaire.awardTitleResearch Centre for the Sociology and Aesthetics of Music
oaire.awardURIinfo:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UID%2FEAT%2F00693%2F2013/PT
oaire.fundingStream6817 - DCRRNI ID
project.funder.identifierhttp://doi.org/10.13039/501100001871
project.funder.nameFundação para a Ciência e a Tecnologia
rcaap.rightsopenAccess
relation.isProjectOfPublicationf80646ff-f0ed-4707-a927-8620933811e9
relation.isProjectOfPublication.latestForDiscoveryf80646ff-f0ed-4707-a927-8620933811e9

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