Introduction Section I: Identity, Adaptation, Genre 1. Opera and Modernity in Independent Latin America (1820-1825) 2. Reception and Creation of Musical Theatre in the Arab World: A Decolonial Approach 3. Nation and Adaptation in Eighteenth-Century Swedish Opera Section II: Networks and Impresarios: The Mechanics of the Business 4. Consuming Operetta: Gender, Genre and the Bandmann Opera Company in Early-Twentieth-Century Japan 5. From the Caffè Martini in Milan to Atlantic South America: The Global Rise of the Italian Opera Industry in the 1840s 6. Importing and Adapting between Milan and Paris: The Case of Edoardo Sonzogno 7. Theatre and Soft Power in Fascist Italy: A Place for Opera in the International Arena Section III: The Transnational Reception of Singing and Singers 8.

Continuities and Fissures in the Cultural Reception of Italian Opera and Singers in Early-Twentieth-Century Buenos Aires 9. Translating Opera in Brazil (Rio de Janeiro) and Colombia (Bogotá) in the Nineteenth Century 10. The Diva and Transnational Singing: Anne Charton-Demeur Section IV: Repertoires, Production and Localities 11. Transnational Italian Opera Production in Nineteenth-Century Vienna:Aida, a Case Study 12. Dreaming of Wagner: Performing Gluck and the Aspiration for a National Theatre in Japan 13. Adjö Mimi!Margit Rosengren and the Transfer of Popular Musical Theatre to Sweden in the 1920s 14. Constructing Opera: Transnational Forces in Opera in Australia (1955-1985) - A Building, a Diva and Three Musical Directors.