Between October 1954 and May 1955 RAI, the Italian public broadcaster, transmitted its first operetta season on television, promoted by Radiocorriere, the RAI house weekly, in terms of ‘a world coming back’. Yet this comeback did not have the lasting impact that was evidently desired: Italian television would never again pay such close attention to operetta, and the 1954–5 ‘operetta season’ remains an intriguing one-off. This neglected encounter between mass media and music in twentieth-century Italy has rich historiographical potential, which the article explores. Among other issues, studying the 1954–5 RAI operetta season helps us better understand not only the deep connections between postwar Italian culture and its fascist past – still a contentious matter – but also the complex discursive, technological and affective interactions between a mass medium tirelessly promoted as new and a form of popular entertainment that was already perceived as hopelessly out of date.
‘A World Coming Back’: Operetta on Early Italian Television / Senici, EMANUELE GIUSEPPE. - In: CAMBRIDGE OPERA JOURNAL. - ISSN 0954-5867. - 35:2(2024), pp. 1-22. [10.1017/S0954586724000132]
‘A World Coming Back’: Operetta on Early Italian Television
Senici
2024
Abstract
Between October 1954 and May 1955 RAI, the Italian public broadcaster, transmitted its first operetta season on television, promoted by Radiocorriere, the RAI house weekly, in terms of ‘a world coming back’. Yet this comeback did not have the lasting impact that was evidently desired: Italian television would never again pay such close attention to operetta, and the 1954–5 ‘operetta season’ remains an intriguing one-off. This neglected encounter between mass media and music in twentieth-century Italy has rich historiographical potential, which the article explores. Among other issues, studying the 1954–5 RAI operetta season helps us better understand not only the deep connections between postwar Italian culture and its fascist past – still a contentious matter – but also the complex discursive, technological and affective interactions between a mass medium tirelessly promoted as new and a form of popular entertainment that was already perceived as hopelessly out of date.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.