This article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engagement with jazz, film, race, and American popular musical theater: Paul Hindemith's Hin und zurück, Marc Blitzstein's Triple-Sec (inspired by Hindemith's opera), Ernst Krenek's Jonny spielt auf in the United States, and the unsuccessful effort to stage George Antheil's Transatlantic (modeled on Jonny and revised under the mentorship of Krenek) in New York. Both Germans’ image of America and Americans’ self-image were as much real as imagined, and although the similarities between them facilitated this cultural exchange, their differences also impeded it.

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来来回回：Zeitoper 和 1920 年代跨大西洋寻找独特的美国歌剧

本文认为，在 1920 年代后期，德国体裁的时代报矛盾的是，它成为了寻找一种新的独特的美国歌剧的重要组成部分，导致了相互影响的跨大西洋循环。这种影响是可能的，因为德国人和美国人都将美国视为现代生活和技术的体现。美国制作人和作曲家因此改编了德语时代报使其更符合美国人的自我形象。我通过并列两个德国人和两个美国人来研究这种动态时代报，特别关注他们与爵士乐、电影、种族和美国流行音乐剧的互动：Paul Hindemith 的Hin und zurück, 马克·布利茨斯坦三重秒（灵感来自 Hindemith 的歌剧），Ernst Krenek 的强尼·斯皮尔特在美国，以及未能成功上演乔治·安泰尔的跨大西洋（仿照强尼并在 Krenek 的指导下修订）在纽约。德国人的美国形象和美国人的自我形象都和想象中的一样真实，虽然他们之间的相似之处促进了这种文化交流，但他们的差异也阻碍了这种交流。