The series is set in the 24th century on a terraformed Mars, now named Aqua, and follows a young woman named Akari Mizunashi as she trains as an apprentice gondolier (known as Undines). The anime is licensed in North America by The Right Stuf International, which released all three seasons in box sets under its Nozomi Entertainment imprint between 30 September 2008 and 2 March 2010. Tokyopop released the two volumes of Aqua in October 2007 and February 2008 and six volumes of Aria between January 2008 and December 2010. Tokyopop then acquired the English-language rights to Aqua as well as Aria. A new anime film titled Aria the Benedizione premiered on 3 December 2021.ĪDV Manga released English translations of the first three volumes of Aria in 2004 before dropping the license. A film to celebrate the 15th anniversary of the anime series titled Aria the Crepuscolo premiered on 5 March 2021. An OVA, titled Aria the Avvenire, was released in the anime series' 10th anniversary Blu-ray box sets between December 2015 and June 2016. A first season was broadcast in 2005, a second season in 2006, an OVA released September 2007, and a third season in 2008 that ended around the same time as the manga serialization. Hal Film Maker has adapted the manga into several anime television series. Aqua was collected in two tankōbon volumes, and Aria was collected in twelve volumes. The series was originally titled Aqua (stylized as AQUA) when it was published in Enix's Monthly Stencil magazine from 2001 to 2002, and retitled when it was transferred to Mag Garden's Comic Blade, where it continued serialization from November 2002 to April 2008. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.Aria (stylized as ARIA) is a Japanese manga series written and illustrated by Kozue Amano. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. The production of Salome songs began shortly after the sensational 1907 U.S. Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century.