Ninth Biennial Conference of the Society for Eighteenth-Century Music Stockholm, 6–7 and 13–14 August 2021

The other papers were a smorgasbord that included English and French luxury goods at London pleasure gardens that were produced by slave labour in the West Indies (Ashley Greathouse, University of Cincinnati), the unpublished music treatise of the musician-turned-astronomer William Herschel (Sarah Waltz, University of the Pacific), early London musical-miscellany publications that presented excerpts from Handel's operas in new and surprising ways (Alison DeSimone, University of Missouri–Kansas City) and my own paper concerning a satire on French provincial orchestras (Beverly Wilcox, California State University Sacramento). Faith Lanam (University of California Santa Cruz) gave an update on her latest research on the Vezerro de lecciones manuscript, a collection of solfeggi by Feo, Leo and Ignacio Jerusalem that was used to train lower-status girls to enter high-status Mexico City convents as choir nuns. [...]Louise K. Stein (University of Michigan) presented new documentation about the first opera productions in the Americas, La púrpura de la rosa (Lima, 1701), Celos aun del aire matan (Mexico, 1728), El Zeleuco (Mexico, 1710) and La Partenope (Mexico, undated), explaining how they travelled via Spanish diplomatic networks from Naples and Madrid to the colonies and observed a number of typically Spanish performance conventions. Most used the Zoom desktop client, but a few relied on mobile phones, and about half left their cameras off during the talks, so that the audience conserved bandwidth while still giving speakers the sort of visual feedback that a live audience normally provides.