Aida famously inaugurated the Teatro Colón in Buenos Aires in 1908, but the musical history of the city is also linked to two earlier productions of the piece: its debut in Cairo in 1871, and another legendary performance, in Rio de Janeiro in 1886. This article retraces the steps of five Italian musicians who played in the orchestras of the Cairo or Rio productions before moving to Buenos Aires, and thereby formed part of the vast Italian emigration to Argentina in the final decades of the nineteenth century. Once there, Pietro Melani, Tomaso Marenco, Giovanni Grazioso Panizza, Italo Casella and Ferruccio Cattelani radically transformed the concert life of the city through their musical activities, not least through their introduction of a wide range of orchestral and chamber music repertoire. By reconstructing their trajectories, I argue for a stronger focus on international networks in thinking about the history of Italian opera at this time and for a greater attention to the contributions of performers who would later fall into obscurity. In addition, I suggest that the insignificant attention given to such figures even in Argentinean narratives would seem to indicate the persistence of a historiography that plays down the contributions of European immigrants in the musical history of the city and the nation.

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阿依达时代二：两部历史悠久的阿依达制作的意大利退伍军人如何塑造阿根廷的音乐史

阿依达著名的科隆剧院于 1908 年在布宜诺斯艾利斯开幕，但这座城市的音乐历史也与该作品的两部早期作品有关：1871 年在开罗首次亮相，以及 1886 年在里约热内卢的另一场传奇演出。本文追溯了五位意大利音乐家的足迹，他们在移居布宜诺斯艾利斯之前曾在开罗或里约的管弦乐队中演出，从而成为 19 世纪最后几十年意大利移民到阿根廷的一部分。在那里，Pietro Melani、Tomaso Marenco、Giovanni Grazioso Panizza、Italo Casella 和 Ferruccio Cattelani 通过他们的音乐活动彻底改变了这座城市的音乐会生活，尤其是通过他们引入了广泛的管弦乐和室内乐曲目。通过重建他们的轨迹，我主张在思考此时意大利歌剧的历史时更加关注国际网络，并更加关注后来变得默默无闻的表演者的贡献。此外，我认为，即使在阿根廷的叙述中，对这些人物的关注也很少，这似乎表明了一种淡化欧洲移民在城市和国家音乐史上的贡献的历史编纂学的持续存在。