Su suggerimento di @Palmer Raids.
Alexandra Leonzini spiega la storia dell’opera in Corea del Nord.
Given how outwardly nationalistic the Democratic People’s Republic of Korea (DPRK) is, it may surprise the casual “NK watcher” to find detailed references to the lives and works of eighteenth and nineteenth-century European composers in North Korean music history books. Yet the likes of Mozart, Beethoven, and Rossini feature prominently in many such texts. Histories, such as Uri shik gojeoneumak (Our Style of Classical Music, 2014), depict Ludwig von Beethoven as an ardent revolutionary who was “saved” from the “foolishness of suicide” by writing his third symphony in honor of Napoleon Bonaparte and the Revolution (71), while others, such as Gageung pyeollam (Opera Handbook, 2011) contain long excerpts from operas such a Mozart’s Le Nozze di Figaro (1786) and Puccini’s Tosca (1899), imploring the reader to “accept the achievements of progressive literature and art in other countries,” and to learn from it (247).
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