In this chapter I outline the shift in reception of Smetana’s opera in Italy between 1905 and 1935, analyze the contexts in which the performances of Prodaná nevěsta took place, and, above all, examine how perspectives of reception were significantly driven by a long process of politically motivated rapprochement with Czech culture—particularly Czech musical culture.
“Outdated” or “Too Current”? Prodaná nevěsta in Milan (1905, 1934, and 1935)
Vincenzina Ottomano
In corso di stampa
Abstract
In this chapter I outline the shift in reception of Smetana’s opera in Italy between 1905 and 1935, analyze the contexts in which the performances of Prodaná nevěsta took place, and, above all, examine how perspectives of reception were significantly driven by a long process of politically motivated rapprochement with Czech culture—particularly Czech musical culture.
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