Historic and terrestrial coordinates III, by Sonia Arienta

In regard to the sets placed abroad, Great Britain, land of political and religious conflicts between Catholics and Protestants, is an important landmark in the operas of Thirties and Forties of the XIX century. When Mazzini’s and Gioberti’s writings promise improbable perspectives of national freedom achieved by pope or by god faith. Spain identified with the country of religious fanaticism, was employed in a continuos line from Donizetti’s Dom Sébastien roy du Portugal to Verdi’s Don Carlos, Franchetti’s Cristoforo Colombo until Dallapiccola’s Il Prigioniero, by that time, late in XX century.
XVIII century curiosity towards Middle-Eastern culture is recognisable in Rossini’s operas both composed before Congress of Wien (l’Italiana in Algeri il Turco in Italia, Ciro in Babilonia, Aureliano in Palmira) and after it (Armida, Moise, Semiramide, Ricciardo e Zoraide). Surely his interest and curiosity stop with Greece war (1821), with the death of Anna Erisso in Maometto II (1820, then Siège de Corinthe – 1826).
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