- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article looks at the myth of Risorgimento, which was inscribed within a more complicated process of cultural nation building. It explores the Risorgimento as a nationalist movement, and considers the relationship between romantic opera and the events that marked the Risorgimento. It observes that the distinction between text and subtext, and stage and reality became more blurred as the revolutionary triennium approached. It also shows that examples of street politics were best reflected and represented in romantic operas, which became the most successful theatrical genre. The article also discusses the ritual and symbolic mechanisms that helped in the creation of a national “imagined community”, politicization, and the Ernani hat.
Carlotta Sorba is associate professor of contemporary history and cultural history at the University of Padua (Italy). She has worked intensively in theater, music, and society in nineteenth-century Europe. She is the author of Teatri. L'Italia del melodramma nell'età del Risorgimento (Bologna 2001) and the editor of Il secolo del teatro. Spettacoli e spettacolarità nell'Ottocento europeo, Memoria e ricerca 29 (2008).
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