Grand opéra occupied a prominent but fraught position in the life of New Orleans in the 1830s, where it became a focus for debates surrounding contemporary cultural and political issues. In 1835, the city’s rival theatres – one francophone, the other anglophone – raced to give the first performance of Giacomo Meyerbeer’s Robert le diable, bringing tensions between their respective communities to a head. This article explores Robert’s arrival in New Orleans, arguing that the discourses that grew up first around this work and later Les Huguenots provided a means through which opposing linguistic and cultural factions within the city could negotiate their local, national and international identities.

中文翻译：

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罗伯特和其他竞争对手的竞赛：19 世纪新奥尔良的地方和（国际）国家谈判

大歌剧院在 1830 年代新奥尔良的生活中，它占据了显着但令人担忧的地位，成为围绕当代文化和政治问题进行辩论的焦点。1835 年，这座城市的竞争对手剧院——一个讲法语的，另一个讲英语的——争相上演 Giacomo Meyerbeer 的首演。罗伯特·勒迪亚布尔，使各自社区之间的紧张关系达到顶点。本文探讨罗伯特到达新奥尔良，认为首先围绕这项工作发展起来的话语，后来胡格诺派提供了一种手段，使城市内的对立语言和文化派别可以协商他们的地方、国家和国际身份。