The reception of the interpretive canon of italian opera in the Rio de la Plata through Juan Emilio Martin. An approach to the problem of migration of canonical interpretive practices in Tosca by Giacomo Puccini

Abstract

 In the context of the approach to interpretive canons, the migration of performative traditions in 19th century opera from Italy to Argentina is assessed, with a focus on Giacomo Puccini and Tosca. The starting point is the work of the Buenos Aires - born conductor Juan Emilio Martini, one of the main recipients of this interpretive line in said city. Both his Convenciones, cortes y transportes en las óperas italianas de repertorio, a 1988 publication in which the author defends certain traditions in the performance of this genre, and the practical activity of Martini himself in the orchestra pit of the Teatro Colón are studied. After reviewing his suggestions and the way in which he justifies them, some conclusions are drawn regarding the characteristics of the migration process of this canon and its degree of perdurability.