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Luciano Botelho


Luciano Botelho

PhD. Student

Since his debut at Teatro Amazonas in 2001 as Tamino, The Magic Flute, Luciano Botelho has been singing opera in the main theaters in Brazil and all over the world. His living experience and passion for the opera stage developed to his recent interest in researching the repertoire of the late 19th century and its phenomenal popularity either in Rio de Janeiro or in São Paulo during the same period. In 2021, he started the first year of the PHD in Musical Sciences at Universidade Nova de Lisboa under the guidance of Professor Luísa Cymbron where he now holds a bursary given by FCT. His research highlights the bilateral relationship in between Brazil and Portugal from 1840 to 1914. Focusing on the opera stage, he brings new understanding about the ties and ruptures between the two countries in a period that establishes the opera theatre as a transnational entertainment industry creating new guidelines for the formation of a Luso-Brazilian tradition.

Post-Doc/PhD/Master Thesis
Title PhD.: A presença portuguesa no teatro de ópera no Brasil entre 1840-1914: Os casos do Rio de Janeiro e de São Paulo.

Luísa Cymbron

Scholarship Reference: FCT
This project investigates the Portuguese footprint left in the Rio de Janeiro and São Paulo opera theaters during the Second Reign and the early years of the Republic, show casing personalities, works and musical legacies, relationships and prestige with society and local political organization. During this period, the opera theater gained worldwide prestige and expanded its tradition to Latin America, causing na enormous frisson in the Brazilian press and society where prominent Portuguese figures were highlighted, among them; Júdice da Costa, Augusta Cruz, Maurício Bensaúde, Francisco de Sá Noronha, Miguel Ângelo Pereira, Arthur Napoleão, Augusto Machado, Alfredo Keil. Here we review the bonds in between Brazil and Portugal, enhancing a new interpretation of the post-colonial relationship and the nationalist movements, based on an entertainment industry that “globalized precociously”, sharing habits and customs originated from the long-lasting Luso-Brazilian relationship, explicit at all society levels, from the figure of Emperor D. Pedro II to the growing legion of immigrants who arrived in Rio de Janeiro and São Paulo between 1840 and 1914.
Thematic Lines and Research Nucleuses:

Luso-Brazilian Studies

Caravelas Nucleus