The Labyrinths of Global Opera

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In 2017, on the debut of the soprano Hui He in the role of Aida at the Hong Kong Opera, a Japanese finance and business website published a short article to introduce its readers to Verdi's monumental opera and more general issues of cultural appropriation and whitewashing related to it. What caught my attention, however, was the headline. Short and concise, it grasped an aspect that might have otherwise gone unnoticed: ‘Opera Hong Kong's new production of “Aida” in October will feature a Chinese soprano playing an African princess singing in Italian’. The headline writer was probably more intrigued by the multicultural quirkiness of this event and ignored, for the sake of the readers, its cultural and historical implications. In fact, the article itself succeeded in depicting this event as a proper, if not extreme, moment of transcultural encounters by mingling different cultures – the Ethiopian heritage of the protagonist of the opera, the musical aura of Italian operas and the Chinese nationality of the soprano Hui He, opposed to the location of the Hong Kong opera evoked by a Japanese magazine – under the unifying authority of Verdi'sAida. This article seemed to consciously invoke a multicultural dimension built around the perceived prestige ofAidaand all the debates on imperialism that, from Said to Drummond and Locke, have become attached to it. Verdi's music is safely placed at the centre of a wide transcultural discourse which, rather than undermining the cultural ‘authority’ of Italian opera, reaffirms it even more strongly as a proper vehicle of ‘global uniformity’, as Christopher A. Bayly would define it.