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Italian opera in the last decades of the nineteenth century was responding to the anxieties of modernity. Stage manuals testify to the newly felt need to harness and channel the effects of live operatic performance, and to allow opera to address and cultivate a public. In this book, Alessandra Campana examines four operas, Mefistofele by Arrigo Boito, Simon Boccanegra by Verdi, Otello by Verdi and Manon Lescaut by Puccini, and a silent film scored by Mascagni, to explore for the first time how opera participated in the making of a modern public in post-unification Italy. She considers the status of the staging manuals for these operas as texts in relation to the performances they strive to control and to the public they aim to address. Each chapter shows how theoretical concepts and themes interact with those evoked by opera texts, engaging with concepts from film, theatre and performance studies.
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