Opera against the Odds
Until 1864, provincial opera operated within a Napoleonic system designed to ensure hierarchically ordered provision for large and smaller towns nationwide and in the colonies. Discussion of how the system worked, how it was funded, how it served indirectly to erase regional difference, and how raw material from Paris (Grand Opera and the voice types it required) became too expensive, helps explain why the system was already at a breaking point by the 1830s, catalyzing heated local and local–national debates. The significance of provincial opera’s travails, its competitors in the entertainment sector from café-concert to radio, and the importance of two regional triumphs—Wagner and open-air opera—become clear in the light of this Paris-generated organizational history. Considerations of decentralization shift at this point to those of the tensions between genre of “national opera” and the centrifugal forces of cultural regionalism (with its attendant identitarian concerns), using the nature and significance of operatic “local color” as a test bed.