Operatic Albanians and singing Turks in the age of enlightenment and revolution

Abstract

ABSTRACT This article considers Albanian subjects in European operas of the eighteenth and early nineteenth century, discussed in the context of the broader phenomenon of operas about Ottoman Turkish subjects and also with regard to more general European cultural perspectives on Albania and the Ottoman empire. The principal operas discussed include Antonio Vivaldi’s Scanderbeg, performed in Florence in 1718; a completely different treatment of that subject, Scanderberg composed by François Francoeur and François Rebel for Paris in 1735 and revived in 1763; Mozart’s Cosi fan tutte, with its mock-Albanians, composed for Vienna in 1790; and Albert Lortzing’s Ali Pascha von Janina, performed in Münster in 1828. The article discusses how issues of Ottoman despotism on the operatic stage intersected with musical and dramatic representations of the subject peoples of the Ottoman empire, especially the Albanians. The eighteenth-century Skanderbeg operas are particularly interesting for reflecting on the ways that Albanians were distinguished from Turks and the ways in which they resembled Turks on the operatic stage. This study of operas about Ottoman Albanians further contributes to understanding the complexity of perspectives on the Ottoman empire in the Enlightenment.