A introdução e a recepção da ópera cómica nos teatros públicos de Lisboa entre 1841 e 1851

Abstract

For over ten years, since its introduction in translated version in the public theatres in Lisbon, to its full absorption in the production and consuming system, the ópera comique had a strong effect on all sections of music theatre’s praxis, from the managers and composers to press and the public. Rejected by some as a French entertaining genre, against setembristas’s statement on nationalism and enlightenment; dear for others as an autonomous potential genre in the Portuguese context, the opera comique was from the very beginning adopted by national composers, spreading around opera from Teatro de São Carlos original circle. The way press reacted to the many approaches on this musical drama genre is reviewed on this article, announcing directly from the forties a number of subjects that will dominate discourse on music in late nineteenth-century, from the Italian opera preponderance critic to a musical nationalism claim.