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Operatic GeographiesThe Place of Opera and the Opera House$
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Suzanne Aspden

Print publication date: 2019

Print ISBN-13: 9780226595962

Published to Chicago Scholarship Online: September 2019

DOI: 10.7208/chicago/9780226596150.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 17 September 2021

Empires in Rivalry: Opera Concerts and Foreign Territoriality in Shanghai, 1930–1945

Empires in Rivalry: Opera Concerts and Foreign Territoriality in Shanghai, 1930–1945

Chapter:
(p.148) Eleven Empires in Rivalry: Opera Concerts and Foreign Territoriality in Shanghai, 1930–1945
Source:
Operatic Geographies
Author(s):

Yvonne Liao

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226596150.003.0011

This essay surveys an operatic geography relatively uncharted: Shanghai of the 1930s and 1940s. The geography in question does not concern the activities, performance spaces or experiences of touring companies and émigré musicians (of which studies exist), but rather, the relationship between opera concerts and foreign territoriality. This relationship is examined by focusing on opera concerts of the Shanghai Municipal Orchestra and British territoriality in the 1930s, and opera concerts of the Shanghai Philharmonic, previously the Municipal Orchestra, and Japanese (anti-British) territoriality in the first half of the 1940s. In examining opera and territoriality across this period, the essay brings to light not only the workings but also the changing conditions of imperial rivalry in Shanghai. The essay concludes with some observations on opera as a distinct imperial emblem, and the broader significance of Shanghai as an operatic geography.

Keywords:   empire, rivalry, territoriality, emblem, concert, Shanghai

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