An Archaeology of Nineteenth-Century Consumer Behavior in Melbourne, Australia, and Buenos Aires, Argentina

Author(s):  
Pamela Ricardi
Author(s):  
Karen Ahlquist

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”


1963 ◽  
Vol 19 (3) ◽  
pp. 262-275
Author(s):  
S. Samuel Trifilo

British interest in the region of the River Plate developed relatively early, but, due to Spain's monopolistic trade policies regarding her American possessions, few Englishmen were allowed to visit that area during the colonial period. It was not until after 1810, with the declaration of independence of Argentina, that trade barriers were lifted, and countless Englishmen sailed to the port of Buenos Aires with adventure and profit in mind. This little known part of the globe attracted the most diverse personalities—unemployed soldiers, tradesmen, mining engineers, scientists, missionaries, diplomats, and just plain adventurers. The great majority seemed to have one characteristic in common, however—the English mania for keeping extensive diaries and journals.


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