Operatic Geographies
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€116.99
17th century
1800s
academic
acoustics
Age Group_Uncategorized
Age Group_Uncategorized
amanda eubanks winkler
anthology
architecture
automatic-update
B01=Suzanne Aspden
calcutta
Category1=Non-Fiction
Category=AVGC9
Category=AVLF
Category=HB
Category=NH
Category=RG
charlotte bentley
chorus
college
COP=United States
cultural
Delivery_Delivery within 10-20 working days
diva
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
essay collection
essays
geography
historical
history
instrument
instrumental
jonathan hicks
landscape
Language_English
margaret butler
michael burden
music
musical
opera house
operatic
orchestra
PA=Available
political
power
Price_€100 and above
prima donna
professor
PS=Active
rebekah ahrendt
scholarly
social
softlaunch
susan rutherford
suzanne aspden
territory
theater
theatre
university
vocal
Product details
- ISBN 9780226595962
- Weight: 624g
- Dimensions: 17 x 25mm
- Publication Date: 22 Apr 2019
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination.
Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.
Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.
