![]() ![]() This article thus seeks to answer two questions. Contemporary definitions of radio as bel canto and of bel canto as radiophonic rested on a subtler, conceptual alignment between the two media, each of which foregrounded a tension between sound and meaning and implied the radial dissemination of voice ‘out’ in all directions. Second, it investigates radio and the Italian operatic voice as two mutually broadcasting technologies, ones whose critical co-construction was more than an accident of the fraught political moment. First, drawing on materials from 1920s and ‘30s radio magazines, it sketches a history of early radio listening that restores vision and touch to a more central position than they have had in previous scholarly accounts. The overriding ‘voice’ of Italy and its radio empire under Fascism, opera supported the new technology as a political and cultural tool, even as it challenged it as a geographical and perceptual fantasy. Within the early twentieth-century Italian radiophonic imagination, opera occupied a complex position. ![]()
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