This article examines the political and cultural circumstances leading to the Italian premiere of Giacomo Meyerbeer’s posthumous opera L’Africaine at Bologna’s Teatro Comunale in November 1865. Meyerbeer’s death in May 1864 and the French premiere of his last opera the following year combined to produce a striking moment of transnational cosmopolitan sentiment that built on the composer’s reputation for writing music that had the capacity to communicate across national and political boundaries. Shortly after the Unification of Italy, Bologna was keen to capitalise on these emotions and used the Italian premiere strategically in order to position itself as one of the cultural capitals of the new Italian nation state.

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从印度斯坦到布拉班特：迈耶比尔的《非洲》和意大利统一后的城市世界主义

本文探讨了导致贾科莫·迈耶比尔 (Giacomo Meyerbeer) 遗作歌剧在意大利首映的政治和文化环境非洲1865 年 11 月在博洛尼亚的市政剧院举行。迈耶比尔于 1864 年 5 月去世，并于次年在法国首演了他的最后一部歌剧，共同产生了跨国世界主义情绪的惊人时刻，这种情绪建立在作曲家以创作具有跨文化交流能力的音乐的声誉之上国家和政治边界。意大利统一后不久，博洛尼亚热衷于利用这些情绪，并战略性地利用意大利首演，将自己定位为新意大利民族国家的文化首都之一。