
Contents
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Bel canto Opera Bel canto Opera
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The 1850s Opera Craze The 1850s Opera Craze
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Opera Arrangements for Piano, Varying Difficulties Opera Arrangements for Piano, Varying Difficulties
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Going “Opera Mad” Going “Opera Mad”
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The Importance of Place: Two Planter’s Daughters The Importance of Place: Two Planter’s Daughters
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Conclusion Conclusion
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4 “I have no time to tell you now half the enjoyment these operas have given us”: Opera as Cultural Capital
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Published:March 2021
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Extract
As Katherine Preston has argued, the impact of opera on American culture in the nineteenth century cannot be overestimated. Its imprint in the South can be detected early in Charleston and New Orleans, in both public performances and private collections.1Close In the 1820s and 1830s, southern women knew Italian arias as arrangements for piano that often included several variations on a principal theme or in simplified versions often adapted to English texts. In this regard, “Away with Melancholy,” Mozart’s “O dolce concento” from Die Zauberflöte, is representative (see Figure 4.1).2Close Professional harpists Septima Fayolle and her sister Adelaïde Giraud performed it in Charleston in 1823 (also under the English title).3Close It appears in numerous collections, in prints by Carr, Willig, Hewitt, and many others. In Nashville, Adelicia Hayes sang it from a manuscript copy. Another altered aria frequently encountered in southern binder’s volumes is “Here We Meet Too Soon to Part,” T. B. Phipps’s version of Rossini’s “Di tanti palpiti” from Tancredi (1813).
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