In the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.

中文翻译：

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歌剧与综合：物质文化、都市主义与布瓦迪厄的《白夫人》

1828 年夏天，Entreprise générale des Dames Blanches 向巴黎街头发起了一支白色公共汽车车队。这些公共交通工具以 Boieldieu 的名字命名和设计歌剧《白娘子》（1825 年）：他们的后门装饰着苏格兰的场景，他们的侧翼画有手势的歌剧人物，他们的机械喇叭在街道上吹着号角。综合公共汽车提供了世界上最早的公共交通系统之一，是一项改变城市交通的创新。在其三十年的流通过程中，这批文集也对布瓦迪厄歌剧的接收历史产生了深远的影响。当公共汽车改善了工薪阶层和中产阶级的生活质量时，资产阶级的巴黎人为汽车的平等主义商业模式喝彩，而布瓦迪厄的歌剧出人意料地与围绕公共汽车的民粹主义言论交织在一起。通过 Dames Blanches 的镜头观看歌剧，巴黎人将歌剧和街头的声音混为一谈，综合性的，作品。2（1829），结合了歌剧成语和号角。通过这些例子和其他例子，本研究考察了物质文化影响音乐作品传播和接受的复杂方式。