Abstract
Despite the apparent political subject matter of nineteenth-century opera, the aesthetic elements remained in the forefront. Practitioners, no less than audiences, placed more of a premium on factors relating to the operatic medium (style, vocal character, dramaturgical effect, and spectacle) than on political or social messages. Alternatively, such messages may have been embedded in issues of national style, apart from the implications of the drama enacted.
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© 2005 by the Massachusetts Institute of Technology and The Journal of Interdisciplinary History, Inc.
2005
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