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In recent years, the interest in opera beyond the geographical limits of Europe and the genre’s poietic condition as a European phenomenon has grown exponentially, particularly in nineteenth-century studies.1 In the case of Latin America, opera has been an important part of urban culture since at least the early eighteenth century,2 but it was only during the nineteenth century, after the Wars of Independence and the end of colonial regimes, that it became both popular and ubiquitous. This change in taste was perceived both by local audiences and foreign travelers, who could see that the old Spanish musical theater of tonadillas and zarzuelas was rapidly falling out of fashion in favor of Italian opera in the space of a single generation.3 The break with Iberia necessarily increased the demand for new local genres as well as a new vision for entertainment in the expanding urban centers of the Americas. Opera thus became “official”: in the new “Spanish-American” republics (including Mexico, Venezuela, and Chile) opera became a stage for Republican modernity, while in Brazil opera became the sounding symbol of the new tropical Empire and its court.4
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