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151574 https://hdl.handle.net/2286/R.I.17749 http://rightsstatements.org/vocab/InC/1.0/ All Rights Reserved 2013 vi. 100 pages : music Doctoral Dissertation Academic theses Text eng Flores, Andrea, D.M.A FitzPatrick, Carole Dreyfoos, Dale Holbrook, Amy May, Judy Ryan, Russell Arizona State University Partial requirement for: D.M.A., Arizona State University, 2013 Includes bibliographical references Field of study: Music Although opera is the last musical genre one typically associates with Latin America, Mexican composer Daniel Catán (1949-2011) found surprising success across the United States and overseas with his opera Florencia en el Amazonas (1996). Catán blends colorful music with literary elements to create a representation of Latin American culture through language, drama, scenery, and music. Among these elements is realism mágico (magical realism), a significant characteristic of Latin American literature. Indeed, the plot of the opera is influenced by Gabriel García Márquez's novel, El amor en los tiempos del cólera (Love in the Time of Cholera, 1985), as well as the poem "Mariposa de obsidiana" (Obsidian Butterfly, 1951) and the short story "La hija de Rappaccini" (Rappaccini's Daughter, 1953), both by Octavio Paz. To create his protagonist in the opera, Florencia Grimaldi, Catán combines the dramatic qualities of several European soprano heroines. This figure's character development is conveyed largely through her Act I, Scene 2, aria, "Florencia Grimaldi," and her Act II, Scene 17, aria, "Escúchame." An overview of the opera places these two arias into context, and their musical content and text-setting are closely examined in relation to the character of Florencia. Finally, how Daniel Catán creates a soprano heroine from the Latin American perspective is discussed. Music Daniel Catan Florencia en el Amazonas Latin America Magical Realism Opera Operas--Excerpts--Analysis, appreciation. Operas Operas--Literary themes, motives. Florencia Grimaldi: Latin America's soprano heroine