I originally bought this book so that I could research the many opera houses that singer Johnny Mathis has played, since nine times out of ten, he performs with an orchestra in these venues when not at the casinos. Some of them, like the Orpheum Theater in Memphis, and the Seattle Center Opera House and the Broward Center in Fort Lauderdale, Florida are places he's played that are in this book, yet some of them, like the Morton Meyerson in Dallas, the Davies Symphony Center in San Francisco, and the great Carnegie Hall in New York City aren't mentioned, possibly because although similar, they weren't built expressly for opera. I don't know. But they are all wonderful venues for vocal entertainment.But these beauties aren't just pretty façades! Their form has a function, as well. Being a physics major, I've always had an interest in how these special arenas are constructed. For me, where Mrs. Zietz succeeds is her thorough descriptions of some of the finer examples. Her pictures are wonderful and plentiful...I just wish a few could have been in color.The author makes a plea of sorts to save the older opera houses rather than razing them to build new ones. Because of possible asbestos worries, I'm not sure how feasible that is, but I will agree that these architectural wonders do deserve at least a little consideration of their cultural past.