Absolute war, total war, world revolution: the nature and scale of the global conflicts that took place around 1800 have been explored (and contested) both at the time and ever since, and recent scholarship has begun to resituate the literary, visual, and theatrical art of the period within this landscape of perpetual conflict. Opera historians, though, have until recently largely steered clear of the operatic mediation of war beyond its most local manifestations. My article returns to the subject of opera and war, to reflect on how an expanded understanding of wartime, in reaching beyond the actual war event (Favret, 2010 Favret, M. 2010. War at a Distance: Romanticism and the Making of Modern Wartime. Princeton: Princeton University Press. [Google Scholar]. War at a Distance: Romanticism and the Making of Modern Wartime. Princeton: Princeton University Press), can provide new insights into the recent scholarly work on opera’s transnational mobility (and malleability), its articulation of modernity and its framing of cross-cultural encounters.

绝对战争，全面战争，世界革命：在当时和此后一直在探索（和争论）大约1800年发生的全球性冲突的性质和规模，最近的学术研究已开始将其文学，视觉和视觉领域的研究重新定位。在这种永久冲突的景象中的那个时期的戏剧艺术。然而，直到最近，歌剧历史学家才在很大程度上避免了战争的歌剧性调解超出其最局部的表现形式。我的文章回到歌剧和战争的主题，来思考如何在超越实际战争事件的基础上扩大对战时的理解（Favret，2010年） Favret，M. 2010。远程战争：浪漫主义与现代战争时期的形成。普林斯顿：普林斯顿大学出版社。 [Google Scholar]。远程战争：浪漫主义与现代战争时期的形成。普林斯顿：普林斯顿大学出版社，可以提供有关歌剧跨国流动（和延展性），现代性的表达以及跨文化交往框架的最新学术著作的新见解。