Remaking the Brazilian Myth of National Foundation: Il Guarany
2002; University of Texas Press; Volume: 23; Issue: 2 Linguagem: Inglês
10.1353/lat.2002.0019
ISSN1536-0199
Autores Tópico(s)Brazilian cultural history and politics
ResumoScholars have long been reluctant to acknowledge the nationalist significance of the opera Il Guarany (1870), by the Brazilian composer Antonio Carlos Gomes. 1 Its triumphal success at the Teatro alla Scala, Milan, on 17 March 1870, repeated in numerous performances in major European cities, can be attributed, to some extent, to the exoticist appeal which its subject matter held for European audiences of the time. However, the Brazilian public acclaim that followed its performance at the Rio de Janeiro Teatro Lírico Fluminense, on 2 December 1870, cannot simply be considered a patriotic response to the accolades it had earned in Europe. Although the fact that it was the first work to place Brazilian art music on the international scene was crucial for earning national esteem, Il Guarany also fulfilled other kinds of expectations in its early reception history in Brazil. This article explores this issue from the perspective of the narratives of national identity fostered by official culture during the Brazilian Second Empire.
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