Chapter author : Alain Patrick Olivier

Publisher : Brill | Fink

This essay explores the emancipatory potential of music in 19th-century Italy, focusing on the political and philosophical resonance of Italian opera in the context of Hegel’s aesthetics. By analyzing Rossini’s La Gazza Ladra and the roles of female singers like Angelica Catalani, the essay argues that musical performance can express not only individual subjectivity but also collective political resistance. Drawing on Hegel’s writings and lectures, especially his correspondence from Vienna and the 1828–1829 Aesthetics lectures, the article tries to show how music embodies the consciousness of freedom – a key category in Hegelian thought. Italian opera, often dismissed as merely entertaining, becomes in this reading a site for aesthetic and political agency. The essay challenges the traditional separation between form and content, performance and composition, and reveals how singers, particularly women, enact a form of “absolute subjectivity.” The discussion extends to a comparison between Hegel’s ideal of the singer and Puccini’s Tosca, highlighting contrasting visions of artistic power and political knowledge. Ultimately, the text reclaims the figure of the female singer as a speculative subject, articulating both freedom and resistance through voice, beauty, and presence.

Thematic axes : Transculturalités littéraires et artistiques, Intermédialités, interartialités

Keywords : Aesthetics, Opera

Updated on 24/04/2026