This article examines the first production and early reception of Verdi’sErnaniin Vienna in relation to cultural processes supporting strategies of imperial representation promoted by the Habsburg Court. By discussing newspaper reviews, archival documents, sketches of the sets for the first Viennese production, I show how the opera responded to official narratives of the Habsburg Empire and to specific facets of the local culture of monumentality. I argue that particularly the Act III Finale functioned along the lines of memorial practices that projected the Habsburg dynasty as the source of unity of the empire and its peoples. Finally, I consider the Viennese reception ofErnaniin the broader context of its Italian dissemination, suggesting how fluctuating political readings of the opera depended upon (rather than undermining) multidirectional cultural exchanges.

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歌剧与纪念碑：威尔第的《维也纳之城》与王朝记忆的建构

本文考察了威尔第的第一次制作和早期接受埃尔纳尼在维也纳，与支持哈布斯堡宫廷倡导的帝国代表战略的文化进程有关。通过讨论报纸评论、档案文件、维也纳第一部作品的布景草图，我展示了这部歌剧如何回应哈布斯堡帝国的官方叙述以及当地纪念性文化的特定方面。我认为，特别是第三幕的最后一幕是按照纪念实践的方式运作的，这些实践将哈布斯堡王朝视为帝国及其人民团结的源泉。最后，我考虑一下维也纳人对埃尔纳尼在其意大利传播的更广泛背景下，这表明歌剧的波动政治解读如何依赖（而不是破坏）多方向的文化交流。