Following is the abstract of a paper I will be presenting a the annual conference of the Association for Jewish Studies, which will meet in Los Angeles next week.
From the Bimah to the Stage, and Back: Jews, Christians, Synagogues and Opera in Modern Italy
My paper investigates the roles of synagogue music and of musical theater in creating a complex social space shared among Jews and Christians in Italy during the Emancipation process, beginning in the late 18th century and ending with the rise of Fascism in the early 20th century.
Since their inception, the Italian ghettos created a paradoxical situation for each of the groups they tried to separate. While Jews left the ghettos to further their opportunities of professional and social advancement, Christians entered them to find services and knowledge. On each side, synagogues and theaters presented two poles of social interaction revolving around the inherently inclusionary nature of “performance.” Synagogue liturgy presented non-Jews with the unique chance to acquire a direct experience of what they believed were the vestiges of an ancient Jewish past, directly linked with the origins of Christianity. Theater, and especially Italian Opera, presented the Jews with a secular cultural sphere that was not only religiously acceptable, but also desirable as an opportunity for unmediated contact with non-Jews.
This social exchange can be understood through a combination of sources and methodologies. Documental sources detail non-Jewish attendance at synagogues services and other music-related (and often nocturnal) performances inside the ghettos, as well as the Jewish attempts to illegally leave the ghettos at night to attend theatrical performances. Ethnographic and musical sources substantiate the operatic influences on Italian synagogue song, the ways in which Jewish composers learned their profession from their Christian counterparts, and how Opera composers were hired by Jewish communities to renew their liturgical “sound.” Anthropological considerations applied to these sources explore the synagogue and the theater as spaces of nocturnal inter-ethnic interactions revolving around specific performance practices.
A historical overview of these sources provides the basis to understand how, once the Emancipation was accomplished, the synagogue absorbed the theatrical experience and remained central to Jewish-Christian interactions, as a space in which major political and social events, like the celebration of the Festival of Emancipation (each year on March 29), weddings and birthdays of the House of Savoy, and the inauguration of new synagogue buildings, were performed through liturgical music and ritual.