Opera and nationalism in Latin America: the irrational as ideology through complex hegemonies Article Sidebar PDF (Español (España)) Published Jul 31, 2020 DOI https://doi.org/10.25074/actos.v2i3.1600 Author Biography Miguel Farías Vásquez, Pontificia Universidad Católica de Chile Miguel Farías, composer and Doctor in Latin American Studies, Chilean, born in Venezuela in 1983. He is the winner of several international awards and recipient of commissions and residences in Chile and abroad. In 2011 and 2013 he was a finalist in the "Composer Project" and "Roche Commissions" programs at the Lucerne Festival, with Pierre Boulez as jury. In June 2012, he was the winner of the 2012 Art Critics Circle Award, in the National Opera category, and the 2013 “Altazor” National Arts Award, thanks to his opera “Renca, París y Liendres”. In 2019 he received the "Domingo Santa Cruz" award from the Chilean Academy of Fine Arts. In 2018 he premiered his second opera, "El Cristo de Elqui", commissioned by the Municipal de Santiago, National Opera of Chile. And in 2021 he premiered his monodrama «La Compuerta nº12, with his own script on the homonymous story by Baldomero Lillo. He is an associate professor at the Pontificia Universidad Católica de Chile. His works are edited and published by Universal Edition. Main Article Content Miguel Farías Vásquez Pontificia Universidad Católica de Chile https://orcid.org/0000-0002-7016-5543 Article Details Issue Vol 2 No 3 (2020): Revista Actos Section Artículos How to Cite Farías Vásquez, M. (2020). Opera and nationalism in Latin America: the irrational as ideology through complex hegemonies, 2(3), 42-51. https://doi.org/10.25074/actos.v2i3.1600 More Citation Formats ACM ACS APA ABNT Chicago Harvard IEEE MLA Turabian Vancouver estadisticas Downloads Download data is not yet available. Abstract Between the second half of the 19th century and the beginning of the 20th century, we find an important list of operas created by Latin American composers, among which a large number of nationalist styles stand out. Considering these works, the present work aims to recognize the complexity of the hegemony regarding Latin American opera as a cultural phenomenon, as well as the irrational-rational tension that makes this company possible. According to the analysis of works, they are mainly divided into two groups: those that narrate independence or state construction and those that identify indigenous or subordinate figures to confirm identity, both national and continental. At the end of the article, it is recognized that Latin American opera responds to complex power relations and national and international hegemonies, which make effective, on the one hand, the feeling of community and, on the other, that of national and identity identities. Keywords Latin American Opera Nationalisms Hegemony Indigenisms National Identity Most read articles by the same author(s) Miguel Farías Vásquez, Exoticism and Tradition in Latin American Opera: Appropriations and Resistances , : Vol 7 No 13 (2025): Revista Actos
