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This volume goes beyond the old and prevalent Marxian interpretation of the place of the opera house as an expression of centralized power, instead exploring the more nuanced possibility of a network of competing powers at play. Original and thought-provoking, these essays offer a multitude of new and fresh perspectives on the 'situatedness' of opera. --Pierpaolo Polzonetti, author of Italian Opera in the Age of the American Revolution Operatic Geographies is a rich, diverse and thought-provoking collection of essays from which geographers will learn a great deal. Above all, perhaps, the essays produced by Aspden's contributors raise a question as to why historical geographers concerned with spaces of knowledge have tended to restrict their interest over the past few decades to spaces of scientific knowledge, production and reception. If the focus has been on labs and museums, on the ship and the scientific instrument, perhaps there are also narratives that deserve to be written about the theatre and the concert hall, about the travelling player and the musical instrument. These essays about the spaces of opera show us that many spaces of knowledge and culture would benefit from a more geographically-sensitive analysis. -- Journal of Historical Geography Operatic Geographies takes up a great many important questions. . . . The book is beautifully produced and edited with care. -- Revue de Musicologie (Translated from French)

This volume goes beyond the old and prevalent Marxian interpretation of the place of the opera house as an expression of centralized power, instead exploring the more nuanced possibility of a network of competing powers at play. Original and thought-provoking, these essays offer a multitude of new and fresh perspectives on the 'situatedness' of opera. --Pierpaolo Polzonetti, author of Italian Opera in the Age of the American Revolution Operatic Geographies is a rich, diverse and thought-provoking collection of essays from which geographers will learn a great deal. Above all, perhaps, the essays produced by Aspden's contributors raise a question as to why historical geographers concerned with spaces of knowledge have tended to restrict their interest over the past few decades to spaces of scientific knowledge, production and reception. If the focus has been on labs and museums, on the ship and the scientific instrument, perhaps there are also narratives that deserve to be written about the theatre and the concert hall, about the travelling player and the musical instrument. These essays about the spaces of opera show us that many spaces of knowledge and culture would benefit from a more geographically-sensitive analysis. --Journal of Historical Geography

This volume goes beyond the old and prevalent Marxian interpretation of the place of the opera house as an expression of centralized power, instead exploring the more nuanced possibility of a network of competing powers at play. Original and thought-provoking, these essays offer a multitude of new and fresh perspectives on the 'situatedness' of opera. --Pierpaolo Polzonetti, author of Italian Opera in the Age of the American Revolution

Author Information

Suzanne Aspden is associate professor of music at the University of Oxford and fellow of Jesus College, Oxford. She is the author or editor of two previous books, and is a former editor of the Cambridge Opera Journal.

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