This article focuses on the Italian inventor, telephone pioneer and opera house technician Antonio Meucci (1808–1889), exploring the shifting relationships between Meucci’s experiments and his operatic connections across his transatlantic career. Meucci first developed an acoustic telephone while working at Florence’s Teatro della Pergola, before discovering the transmission of sound via electricity during his tenure as chief machinist at Havana’s Teatro Tacón in the 1840s. These experiments were further refined after his relocation to New York, where he continued to be part of a network of Italian musicians, thinkers, journalists and scientific practitioners while seeking to patent his invention. Feted among the Italian diasporic community in the USA – both for his technological innovations and for his close relationship with Italian revolutionary Giuseppe Garibaldi – at the time of his death Meucci was nonetheless embroiled in a lengthy legal case against Alexander Graham Bell over the primacy of the telephone’s invention, a dispute not fully resolved until the twenty-first century. This article accordingly unfolds in three main parts, focusing in turn on Florence, Havana and New York. Meucci’s experiments – and his complex emigrant environment – collectively highlight the Italian opera house as a global and multidimensional site of technological and sonic innovation, during a period when the telephone gradually moved from conceptual fantasy to material reality. At the same time, Meucci’s career can challenge direct links between Italian sonic environments and Italy itself. Ultimately, I argue, the complex and changing relationships between opera and the telephone invite more nuanced approaches to histories of music and technology, while demonstrating the centrality of the Italian opera house and its sounds – within, across, and beyond the stage – to nineteenth-century auditory cultures more broadly.

Received wisdom has it that the Marxist intellectual and political theorist Antonio Gramsci wrote little about music. Nevertheless, scattered across his Quarderni del carcere (1929–35) are a small number of trenchant comments on Italian opera, which Gramsci probed for its role in creating the civil society of a unified Italian state – a state whose failures led to the rise of the Fascist regime that kept him imprisoned for the last decade of his life.1 In Mary Ann Smart’s words, ‘Gramsci saw the popularity of opera in Italy as both a substitute for and an impediment to the development of his preferred vehicle for Romantic sentiment, a popular literature that demanded a solitary and reflective mode of consumption diametrically opposed to the experience of the opera house.’2 Opera’s melodramatic excess partly accounted for what Gramsci saw as the Risorgimento’s failure to be a truly popular movement in Italy; from an infirmity on the aesthetic plane sprang many of the irresolvable cultural and political schisms that beset unified Italy.

Naples suffered a significant loss of political and economic power following Italian unification, a decline seemingly echoed by the collapse of its opera buffa tradition. Yet Naples played a central role in generating an Italian operetta tradition across entertainment venues both old and new, with canzone napoletana becoming a key feature of operettas composed (and performed) across Italy. This article explores the crucial contribution of Naples and the Neapolitan song tradition to the development of Italian operetta, focusing particularly on composer Mario Costa. Neapolitan operetta, I argue, reveals the complex interplay between regional, national and international practices and discourses in constructions of ‘native’ Italian operetta, while exposing the generic and aesthetic ambiguity of Italian operetta within shifting hierarchies and changing repertoires c.1900. At the same time, the study of key figures such as Costa can revise and reorientate musical narratives of Liberal Italy that have typically focused on opera, the Giovane Scuola and the North.

‘Spain is different’, the Spanish tourist board famously declared in the 1960s as part of its strategy to attract mass tourism to the country. The campaign played a key role in opening up Spain's economy during the later years of Franco's regime – the so-called apertura – following two decades of autarchic rule that had left the country geopolitically isolated. As the slogan suggested, however, exoticism was a key part of Spain's nation-branding. Ideas of Spanish difference were now marketed for their tourist appeal, with images of gypsies and flamenco joined by sizzling beaches and ice-cold sangria.

This article examines the relationship between Milan's 1906 Exposition and a celebrated revival of Verdi's La traviata (1853). An event of national and international importance, the Exposition was notable for its focus on Italy's global presence, and in particular Italy's relationship with Latin America. The Traviata production, meanwhile, comprised the first Italian staging of Verdi's opera in period costume, performed at La Scala by a quintessentially modern, celebrity ensemble to mark the Exposition's opening. This article explores the parallels between the Exposition and the production, to investigate the complex, shifting position of Milan (and Italy) within the transatlantic cultural and operatic networks of the time; and more broadly, to examine the role of operatic staging in shaping understandings of global space within the mobile operatic canon of the early twentieth century.

Geraldine Farrar's performances in Ruggero Leoncavallo's Zazà (1900) at New York's Metropolitan Opera House in the early 1920s were widely acclaimed as an unexpected triumph for the soprano. This article examines Farrar's Zazà in the context of New York's post-war operatic crisis, the concurrent emergence of Hollywood cinema and Farrar's own highly prominent movements between operatic and cinematic media throughout the 1910s. While Leoncavallo's opera raised a number of pressing difficulties for New York critics, Farrar's critical and popular success in Zazà points to new understandings of operatic performance at the dawn of the cinematic age.