ABSTRACT
This conclusion presents some closing thoughts of the key concepts discussed in the preceding chapaters of this book. The book is about opera in the British Isles' rather than British opera': it examines the broad sweep of public and professional operatic activity with a particular focus on organisations and repertories and their reception. Britain's notoriously capital-centric culture has tended to emphasise the difference and metaphorical distance between central London and everywhere. While the music and musical culture of the British Isles in the long nineteenth-century has been a subject of greatly increased academic interest in the last 30 years, opera. The domination of London by foreign opera an elitist audience more interested in protecting its own exclusivity than in culture itself. The rise of operetta and musical comedy, and the lack of trained native musicians who could create and promote an original product have failure to establish a nation of opera-lovers and canon of British operas.
