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² E.g., Høedt-Rasmussen, Inger and Nielsen, Lise-Lotte, “Lawyers in Opera: The Transformation of the Legal Profession,” Nordic Journal of Law and Social Research 5 (2014): 63–82 Google Scholar; Wang, Derrick, “ Scalia/Ginsburg: A (Gentle) Parody of Operatic Proportions,” Columbia Journal of Law and the Arts 38 (2015): 239–92Google Scholar; Annunziata, Filippo, Contracts, Wills, Marriages and Rings: Opera and Private Law (Milan: Silvana Editoriale, 2017)Google Scholar; Law and Opera, ed. Annunziata and Colombo; Rebekah Ahrendt, “The Legal Spaces of Opera in The Hague,” in Operatic Geographies: The Place of Opera and the Opera House, ed. Suzanne Aspden (Chicago: University of Chicago Press, 2019), 12–25; Annunziata, Filippo and Colombo, Giorgio Fabio, “Opera and Law: Critical Notes,” Law and Literature 33 no. 1ß (2021): 141–57CrossRefGoogle Scholar; Machura, Stefan, Litvinova, Olga, and Cunningham, John, “Analysing Law in Opera,” Law and Humanities 17, no. 1 (2023): 90–111 CrossRefGoogle Scholar.

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¹² Dove, Jonathan, Flight: Opera in Three Acts. Libretto by April de Angelis (London: Edition Peters, 1997), 44 Google Scholar (Act III).

¹³ Abbate, Carolyn and Parker, Roger, A History of Opera: The Last 400 Years, rev. ed. (London: Allen Lane, 2015)Google Scholar.

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¹⁹ “Une petite journée comme celle-ci, forme bien un ambassadeur!”: Pierre-Augustin Caron de Beaumarchais, Le Mariage de Figaro, ed. Gérard Kahn (Oxford: Voltaire Foundation, 2002), 467 (Act V, scene xix); The Marriage of Figaro, in Beaumarchais, The Figaro Trilogy, trans. David Coward (Oxford: OUP, 2003), 212.

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²³ Danton and Napoleon quoted in David Coward, “Introduction,” in Beaumarchais, The Figaro Trilogy, trans. Coward, p. viii; Bernard Williams, “Mozart’s Figaro: A Question of Class?,” in Williams, On Opera, 25–30.

²⁴ The classic study of dance and its meanings in Mozart’s Da Ponte operas, Allanwood, W. J., Rhythmic Gesture in Mozart: “Le nozze di Figaro” and “Don Giovanni” (Chicago: University of Chicago Press, 1983)Google Scholar, overlooks the African roots of the fandango.

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³¹ “Gastrecht,” in Grimm and Grimm, Deutsches Wörterbuch, vol. 4/1, cols 1484–5, citing Homer, Odyssey, trans. Johann Heinrich Voss (Hamburg: Auf Kosten des Verfassers, 1781), 5.9; 17.522.

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³³ From a vast literature see especially Mark Berry, Treacherous Bonds and Laughing Fire: Politics and Religion in Wagner’s Ring (Abingdon: Routledge, 2016), his title alluding to Wotan’s “trüber Verträge” (Die Walküre, Act II).

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⁴⁴ For instance, a refugee is someone who “owing to well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of [their] nationality and is unable or, owing to such fear, is unwilling to avail [themself] of the protection of that country; or who, not having a nationality and being outside the country of [their] former habitual residence, is unable or, owing to such fear, is unwilling to return to it”: Refugee Convention (1951), Article I.

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