IntroductionSection One: 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 Two: Networks and Impresarios: The Mechanics of the Business 4. Consuming Operetta: Gender, Genre and the Bandmann Opera Company in Early Twentieth-Century Japan, 5. A Global History of the Italian Opera Industry: from Milan to South America (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 Three: 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 Four: 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.