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Theaters --- Führer. --- Theaters. --- Markgräfliches Operhaus Bayeruth --- Bayreuth --- Markgräfliches Opernhaus --- Germany. --- Markgräfliches Opernhaus.

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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. This book 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 this book powerfully illustrate how opera's spatial production informs the historical development of its social, cultural, and political functions.

Anthropogeografie. --- Cultural geography. --- Opera --- Opera. --- Opernhaus. --- Theaters --- Theaters. --- Production and direction --- History. --- Production and direction. --- Social aspects. --- Themes, motives.

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Commissioned by the enterprising actor-manager John Rich, Covent Garden's Theatre Royal first opened its doors in December 1732. Principally a playhouse during its first century, the venue has had an eventful history involving two disastrous fires and riots over ticket prices. Most notably, it hosted Handel's incomparable operas and oratorios, and was where he presented regular seasons from 1735 until his death in 1759. Not until 1847, under Michael Costa, did the theatre dedicate itself to opera, and in 1892 it received the name by which it is known today: the Royal Opera House. Secretary of the Guildhall School of Music from 1901 to 1935, Henry Saxe Wyndham (1867-1940) published this richly illustrated two-volume account in 1906, celebrating the venue's legendary personalities and productions. Volume 2 covers the period 1819 to 1897 and includes appendices which list principal events and managers.

Royal Opera House (London, England) --- Royal Opera House, Covent Garden --- Königliches Opernhaus Covent Garden --- Covent Garden (Royal Opera House (London, England)) --- ROH (Royal Opera House) --- Theatre Royal, English Opera House --- Royal Italian Opera (London, England) --- History.

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In this book, Eugene J. Johnson traces the invention of the opera house, a building type of world wide importance. Italy laid the foundation theater buildings in the West, in architectural spaces invented for the commedia dell'arte in the sixteenth century, and theaters built to present the new art form of opera in the seventeenth. Rulers lavished enormous funds on these structures. Often they were among the most expensive artistic undertakings of a given prince. They were part of an upsurge of theatrical invention in the performing arts. At the same time, the productions that took place within the opera house could threaten the social order, to the point where rulers would raze them. Johnson reconstructs the history of the opera house by bringing together evidence from a variety of disciplines, including music, art, theatre, and politics. Writing in an engaging manner, he sets the history of the opera house within its broader early modern social context.

Renaissance-Baroque architecture styles --- opera houses --- theaters [buildings] --- History of civilization --- Public buildings --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Architecture, Baroque --- Architecture, Baroque. --- Architecture, Renaissance --- Architecture, Renaissance. --- Architektur. --- Opernhaus. --- Theater architecture --- Theater architecture. --- Theaterbau. --- History --- Italien. --- Italy. --- History. --- Theaters --- Architecture --- Construction

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Schwind, von, Moritz --- De Toverfluit (Mozart) --- Wiener Opernhaus (Wenen) --- muurschilderkunst --- Schwind, Moritz von --- Mozart, Wolfgang Amadeus --- Wenen --- Mural painting and decoration --- Symbolism in art --- Allegory (Art) --- Signs and symbols in art --- Art --- Ceilings, Painted --- Fresco painting --- Murals --- Painted ceilings --- Painting, Decorative --- Wall decoration --- Wall-painting --- Decoration and ornament --- Interior decoration --- Painting --- Schwind, Moritz von, --- Von Schwind, Moritz, --- Schwind, Moritz, Ritter von, --- Schwind, --- Schwind, Moriz von, --- Wiener Staatsoper. --- Bundestheater (Austria). --- Opera Państwowa w Wiedniu --- Opera Wiedeńska --- Staatsoper de Vienne --- Staatsoper Wien --- Vienna (Austria). --- Vienna Opera --- Vienna Staatsoper --- Vienna State Opera --- Vienska dŭrzhavna opera --- Wiener Oper --- Opera di stato di Vienna --- Hof-Operntheater (Vienna, Austria) --- Bundestheater (Austria) --- Frescoes --- Frescos --- De Toverfluit (Mozart). --- Wiener Opernhaus (Wenen). --- muurschilderkunst. --- Schwind, Moritz von. --- Mozart, Wolfgang Amadeus. --- Wenen.