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Since Singapore declared independence from Malaysia in 1965, Chinese street opera has played a significant role in defining Singaporean identity. Carefully tracing the history of amateur and professional performances in Singapore, Tong Soon Lee reflects on the role of street performance in fostering cultural nationalism and entrepreneurship. He explains that the government welcomes Chinese street opera performances because they combine tradition and modernism and promote a national culture that brings together Singapore's four main ethnic groups--Eurasian, Malay, Chinese, and South Asian.

Chinese Street Opera in Singapore documents the ways in which this politically motivated art form continues to be influenced and transformed by Singaporean politics, ideology, and context in the twenty-first century. By performing Chinese street opera, amateur troupes preserve their rich heritage, underscoring the Confucian mind-set that a learned person engages in the arts for moral and unselfish purposes. Educated performers also control behavior, emotions, and values. They are creative and innovative, and their use of new technologies indicates a modern, entrepreneurial spirit. Their performances bring together diverse ethnic groups to watch and perform, Lee argues, while also encouraging a national attitude focused on both remembering the past and preparing for the future in Singapore.

In twelve essays, Contemporary Opera in Flux discusses a series of shifts that, taken together, have radically redefined the production and reception of opera. Focusing on productions involving late twentieth- and twenty-first century scores and libretti, the contributors draw on conversations with members of creative teams and studies of archival material, dipping into a historical record that remains in flux as composers, librettists, directors, and designers revisit existing work and create anew. The contributors to this volume push the boundaries of contemporary opera scholarship by examining works that disrupt operatic conventions; tackle sociopolitical issues such as drug trafficking, racial injustice, and cultural trauma; and advance underrepresented works by female, African-American, Asian, and avant-garde composers around the globe. 

Contemporary Opera in Flux bridges the gaps between expanding literature on opera, theater, new music, postmodern dramaturgy, and posthuman aesthetics, while also confronting larger questions of identity, representation, and narrative agency that are at the forefront of contemporary music scholarship. This collection of essays engages critically with the past out of a conviction that, amid general public perceptions of opera as anachronistic or elitist, contemporary opera has emerged as an artistic incubator for experimentation.

Isabel Díaz-Morlán reads the characters of Così fan tutte, an opera by Mozart and Da Ponte, through the lens of René Girard’s theory of unconscious mimetic desire. The opera features couples who resemble those from classical literature, including Ovid’s Collatinus and Lucretia, Cervantes’s Anselmo and Camila, and Shakespeare’s Leonatus and Imogen. The book explores the sources of the libretto, comparing them with each other and with the libretto itself to detect the themes that reveal the mechanism of mimetic desire. This offers the groundwork for the analysis of key moments of the opera, in which the combined action of words, dramatic action and, above all, music, show how Ferrando and Guglielmo as well as Fiordiligi and Dorabella fall into mimetic rivalry, an incitement to desire and hypocrisy, always within a méconnaissance that prevents them from recognizing what is happening to them until the truth is finally unmasked.