Asset Details
Do you wish to reserve the book?
“Ecco il loco destinato”: Cenobio Paniagua, the New Composer and Original Opera as an Expression of National Pride in 1863 Mexico
Hey, we have placed the reservation for you!
By the way, why not check out events that you can attend while you pick your title.
Oops! Something went wrong.
Looks like we were not able to place the reservation. Kindly try again later.
Are you sure you want to remove the book from the shelf?
“Ecco il loco destinato”: Cenobio Paniagua, the New Composer and Original Opera as an Expression of National Pride in 1863 Mexico
Do you wish to request the book?
“Ecco il loco destinato”: Cenobio Paniagua, the New Composer and Original Opera as an Expression of National Pride in 1863 Mexico
Please be aware that the book you have requested cannot be checked out. If you would like to checkout this book, you can reserve another copy
We have requested the book for you!
Your request is successful and it will be processed during the Library working hours. Please check the status of your request in My Requests.
Oops! Something went wrong.
Looks like we were not able to place your request. Kindly try again later.
Journal Article
“Ecco il loco destinato”: Cenobio Paniagua, the New Composer and Original Opera as an Expression of National Pride in 1863 Mexico
2024
Overview
Defined by a civil war and political tumult, the year 1863 is well known in the history of Mexico as one of singular import, but less so as a milestone of national musical and cultural achievement. Nevertheless, from January through the departure of Benito Juárez and his cabinet from the capital in May, to the installation of Archduke Maximilian as Emperor in November, an unprecedented number of newly composed operas by Mexican composers were staged. All set to preexisting Italian libretti (including titles by Felice Romani and Gaetano Rossi for Carlo Coccia and Vincenzo Bellini, respectively), these works were nevertheless the unique manifestation of a school of Mexican composers expressing themselves en masse for the first time. With the impending conflict, an exodus of resident Italian opera companies by 1861 left the field wide-open to enterprising Mexicans, with Cenobio Paniagua (1821-1882) and Octaviano Valle (1826-1869) in the forefront. A fleeting moment in operatic history, this fascinating year now lends itself to deeper scrutiny, thanks to the resurfacing of long-unavailable musical and archival sources. While these works had remained lost until only recently, several scores have begun reemerging. Of these, limited availability of fragments from Romeo e Giulietta by Melesio Morales (his first effort) and Valle’s ill-fated Clotilde di Cosenza provide crucial insight, while permitting these rarities to be sampled for the first time. Paniagua’s autographs—though recently rediscovered—proved far less available, while materials for I due Foscari by Mateo Torres Serrato remain lost. Limited documentation has long presented further challenges to demystifying what might be considered a legendary period. However, reviewing the underlying politico-historic, artistic, and economic reasons for its impetus, this article will explore and contextualize the circumstances leading to this unprecedented explosion of operatic expression, making a sort of anno mirabilis of one of the hardest years in Mexico’s history.
Publisher
University of California Digital Library - eScholarship
Subject
