...Virginia Rau Cartas do Brasil e mais escritos do P. Manuel da Nóbrega (Opera Omnia) . Edited by Leite P. Serafim S. J. , Coimbra , 1955 . Acta Universitatis Conimbrigensis . Illustration. Appendix. Bibliography . Pp. 574 . Copyright 1956 by Duke University Press 1956 ...

...Robert Stevenson Historia de la música en la Argentina, 1536-1900 . 2 vols. By Gesualdo Vicente . Buenos Aires , 1961 . Editorial Beta S.R.L . Illustrations. Bibliography. Index . Pp. 593 , 1085 . Paper. Pablo Rosquellas y los orígines de la ópera en Buenos Aires...

...Carleton Sprague Smith Um século de ópera em São Paulo . By Cerquera Paulo de Oliveira Castro . São Paulo , 1954 . Editora Guia Fiscal . Illustrations. Index . Pp. 327 . Copyright 1955 by Duke University Press 1955 ...

...Harold E. Hinds Soap Operas for Social Change: Toward a Methodology for Entertainment-Education Television . By Nariman Heidi Noel . Westport : Praeger , 1993 . Photographs. Tables. Figures. Notes. Bibliography. Index , xxii , 143 pp. Cloth . $47.95 . Copyright 1994 by Duke...

... of national cultural identity in Latin America” (p. 1). Several of the essays, including two by Beezley, have this priority, yet seven authors make limited or no mention of opera, dealing instead with such diverse topics as Mexican radio, rock-influenced music in Cuba, tango and folk music in Argentina...

..., despite government attempts to use censorship. She also looks at how theater, especially opera, demonstrates differentiations based on class and gender through seating, fashion, and a heavily masculine attendance. She focuses on the elite s visibility in the box seats at the opera. While the discussion...

... and cultural currents in 1910s Peru: early indigenismo, modernism, Incaism, and so on. The author also refers to the research of Leandro Alviña on Inca music, José María Valle Riestra’s composition of the opera Ollanta (which borrowed from the late eighteenth-century Quechua-language drama Ollantay...

... filled the local theaters, which offered their clientele a varied diet of entertainment. Public taste was largely Frenchified and it delighted in the light operas of Offenbach and Lecocq and vaudeville spectacles including the dancing of the scandalous cancan. European companies brought Italian operas...

... tells of “intense ideological exchange” representative of the larger “cultural and social crisis” occurring at the time (p. 112). Further, the author details the changing reception of Ricardo Castro’s 1900 opera Atazimba , a work based on a legendary tale of a Tarascan princess who falls in love...

... of the Brazilian national anthem shows no acquaintance with Francisco Manuel da Silva’s major masterpieces. In his chatty paragraphs on Brazil’s paramount opera composer, Antonio Carlos Gomes (1836-96), he substitutes trivial small talk (about the Brazilian birds that Gomes imported and a boat painted green...

...-century nationalist composers” (p. 105), as Pedelty argues, but rather a nationalist composer (only a conservative, less modernistic one) active during the first part of the twentieth century. Nor was Cenobio Paniagua’s Catalina de Guisa (1859) the first Mexican opera (p. 105): Manuel Covarrubias...

... and nearly inexistent in the other. These two contributions reinforce that we need many more case studies to get a reliable understanding of what happened in Leguía's Peru. David Rengifo Carpio studies the 1920 performance in Lima of Ollanta , an opera that had had little success in 1900. Twenty years later...

... woman's collection of music held at the Newberry Library that includes among its content patriotic pieces. Finally, there are essays about Italians and Italian opera in Mexico, one (by Áurea Maya) about the government's special interest in producing operas by the Galli Company and the other (by Fernanda...

... with the French government from 1845 to 1848. In the former year France broke relations with Mexico over the comic-opera incident of the Baño de las Delicias. For over two years Bermúdez de Castro handled French diplomatic business in Mexico and did what he could to repair the breach. ...

...Harold Eugene Davis The Great Fear. The Reconquest of Latin America . By Gerassi John . New York , 1963 . The Macmillan Company . Appendices. Bibliography. Index . Pp. xi , 457 . $6.95 . Copyright 1964 by Duke University Press 1964 We used to be regaled with comic opera...

...? No. To acclaim the opera singer who has just given a magnificent performance at the local theater. Peace comes in late May, but that only angers the bandit/patriots outside the city, because now they cannot plunder the place, as promised by their commanders. The foreigners hid their valuables and displayed...

..., 1609, by Don Lucas Guerrero y Rodea, the Congregation received its official confirmation and approval from the Holy See on September 5, 1691, when Pope Innocent XII issued the papal bull Pietatis et Caritatis Opera. The Congregation suffered its share of problems over the years. Opposed...

... translation but the composition of original works. Keller’s Drama, Ritual and Incipient Opera is an ingenious argument for a reading of the illuminations in the Cantigas as a “visualization of drama.” Cárdenas explores the relations between the royal scriptorium and the chancery, while Holloway’s erudite...

... in literature, music, art, law, and customs. She points to the magazine El Cojo Ilustrado , begun in 1896, as the main purveyor of Italian culture. This publication carried literary selections of Italian writers, reviewed operas presented in the nineteenth century, and reproduced works of Renaissance artists...

... 1992 This book is fun. It resuscitates a host of old debates like a soap opera. Was Aztec cannibalism really an adaptation to protein scarcity in an overpopulated valley of Mexico? Was the ease of the European conquest due to poor Aztec nutrition and health care? Is contemporary Mexican folk...