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+Project Gutenberg's The Operatic Problem, by William Johnson Galloway
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Operatic Problem
+
+Author: William Johnson Galloway
+
+Release Date: November 12, 2010 [EBook #34302]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE OPERATIC PROBLEM ***
+
+
+
+
+Produced by Barbara Kosker and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+ THE OPERATIC PROBLEM
+
+
+
+
+ By
+
+ W. JOHNSON GALLOWAY, M.P.
+
+
+
+
+ [Illustration]
+
+
+
+
+ London
+ John Long
+ 6 Chandos Street, Strand
+ 1902
+
+
+
+
+Preface
+
+
+Last autumn, having to speak at an organ recital given by my friend Mr
+Clegg, I took the opportunity of giving what encouragement lay in my
+power, to the Corporation of my native town, in an endeavour they had
+made during the summer months to provide suitable music in the various
+parks throughout the city. To my great surprise that speech was quoted
+in journals, of all shades of opinion, in the country, and brought me
+also a vast correspondence.
+
+A copy of the speech will be found at the end of this book.
+
+As I have long desired that Opera should be placed within the reach of
+those, whose purses are not able to bear the strain of the high prices
+charged in England, and having some leisure before Parliament met this
+year, I made inquiries regarding the various systems of running Opera on
+the Continent of Europe. I obtained a vast mass of most interesting
+information. How to make the best use of that information was my
+difficulty. It was much too bulky to compress into the narrow limits of
+a magazine article, and besides, much of it had no peculiar interest for
+us in this country.
+
+My chief desire was to put it before the public in a form that would
+arouse interest in the subject. Also, I realised that this information,
+however valuable, was like the desert, in its unwieldy form, and without
+any attempt to outline the conclusion to which it led. So after much
+trepidation of thought I determined to run the gauntlet and march right
+up to the cannon's mouth with a scheme of my own for the establishment
+of a system for National Opera in this country.
+
+This little book is the result of my efforts, and though I do not
+pretend that it offers a complete solution of the question, still less
+that it gives a _coup de grâce_ to the schemes of those who have trodden
+the same path before me, I do hope it may help to call into existence
+some plan for the foundation of Opera upon a popular basis.
+
+To my critics--and many I shall have--I venture to say that, however
+much they disagree, they should remember I lay no claim to completeness,
+and I will gladly welcome any suggestions thrown out with a real desire
+to perfect my very imperfect ideas.
+
+But there are two forms of criticism I wish to meet in advance.
+
+The first is the criticism of those, who will say it is useless hoping
+to get public money for a luxury, whilst the nation is engaged in a
+costly war. I frankly and freely admit the force of such criticism, but
+I would urge in reply that a proposal like mine has far to travel,
+before it takes its final shape, and one cannot hope to get Parliament
+to take the matter up until the subject has been fully ventilated in the
+country. And although at such a time our first thoughts should be given
+to those who are fighting our battles in the field, surely no harm, and
+possibly much good, may come from considering how we can deal with the
+social problems which confront us.
+
+The second form of criticism is perhaps more easily met, namely, the
+criticism of those who look upon all theatres and opera houses as
+vicious and _contra bonos mores_. This battle was fought by Molière in
+the seventeenth century. Prescott, in his delightful essay on Molière,
+tells us what difficulties that author had to face at the beginning of
+his career on these very grounds. The clergy, alarmed at the then
+rapidly-increasing taste for dramatic exhibitions, openly denounced the
+theatre as an insult to the Deity, and Molière's father anticipated in
+the calling his son had chosen no less his spiritual than his temporal
+perdition. Yet who is there to-day who will deny that Molière helped to
+correct the follies of his age, by exposing them to ridicule? And if in
+providing National Opera for the people, we can assist in the higher
+education of the community, we may well ask those who object on the
+grounds I have named, to remember that "there is no felicity upon earth
+which carries not its counterpoise of misfortunes," and that the evils
+they fear are not inherent only to the stage, but also exist in almost
+every other walk of life.
+
+
+
+
+[Illustration]
+
+The Operatic Problem
+
+
+Opera has, since its origin, been considered the highest form of
+theatrical pastime. The very appellation "opera" indicates that in the
+land of its birth it was looked upon as the "work" _par excellence_, and
+to this day it is the form of Art which is invariably honoured by
+exalted patronage, and one that people pay the most to enjoy. It is
+hardly necessary to advance documentary evidence in support of this
+assertion; moreover, it is beyond the scope of this book to marshal all
+the historical facts. My chief consideration will be to deal with the
+prospect of National Opera in England, and to take the existing state of
+things as the basis for future action. But some retrospect showing that
+the originators of opera understood its importance, and knew admirably
+how to define its scope, may prove interesting.
+
+The following extract from the preface to Vitali's _Aretusa_, the score
+of which is in the Barberini Library, performed in Rome on the 8th of
+February 1620, is worth quoting in corroboration of the statement:--
+
+"This style of work (opera) is a new style, born a few years ago at
+Florence, of the noble intelligence of Messer Ottavio Rinuccini, who,
+dearly beloved by the Muses and gifted with especial talent for the
+expression of passions, would have it that the power of music allied to
+poetry, tended rather to gather fresh strength from the combination,
+than to suffer diminution in consequence. He spoke of it to Signor
+Jacopo Corsi, Mæcenas of every merit and most enlightened amateur of
+music, proving that the mission of music united to poetry should be not
+to smother words with noises, but to help those words to a more eloquent
+expression of passion. Signor Corsi sent for Signor Jacopo Perri and
+Signor Giulio Caccini, eminent professors of singing and counterpoint,
+and after having discussed the subject, they came to the conclusion that
+they had found the means for reaching the desired goal. Nor were they
+mistaken. It is in this new musical style, the fable of Dafne to the
+poem of Signor Ottavio Rinuccini, was composed and performed in Florence
+at Signor Jacopo Corsi's, in the presence of the illustrious Cardinal
+del Monte, a Montalto, and their most serene Highnesses the Grand Duke
+and Grand Duchess of Tuscany. The work pleased them so much that they
+were absolutely bewildered (_attonitidi stupore_). This style of music
+acquired a still greater number of fresh beauties in _Euridice_, a work
+by the same authors, and then in _Ariadne_, by Signor Claudio
+Monteverdi, to-day _Maestro di Capella at Venice_."
+
+Your modern theorist could hardly express his operatic creed with
+greater felicity than the Florentine noble, Ottavio Rinuccini, and the
+whole quotation breathes in its quaint phraseology, the spirit of love
+for all that is new and beautiful in Art, which gave Italy her hegemony
+amongst other nations.
+
+The operatic spectacle, when first imported into France, was a Court
+entertainment for the privileged few, but it soon tempted private
+enterprise, and here, again, its importance, as an attraction, was not
+underrated, for the first _impressario_, one Pierre Perrin, took good
+care to obtain a monopoly for the new style of performances, whilst the
+royal _privilège_ (letters-patent), granted to him, sets out their
+advantages in unmistakable terms.[A]
+
+Therein "Louis par la grace de Dieu," etc., concedes to his "ame et feal
+Pierre Perrin" the exclusive rights of operatic performances throughout
+France, not only that they should contribute to his own recreation, or
+that of the public in general, but chiefly in the hope that his
+subjects, "getting accustomed to the taste of music, would be led all
+but unconsciously to perfect themselves in this the most noble of
+liberal arts." (Que nos sujets s'accoustumant au goust de la musique, se
+porteroient insensiblement a se perfectionner en cet art, l'un des plus
+nobles de liberaux.) These Royal letters-patent were dated 1669,
+demonstrating that two hundred and thirty-two years ago France
+recognised the educational mission of the art of music, and its
+accessibility by the means of opera.
+
+The taste for this new entertainment grew and spread throughout Europe,
+and it is a matter of common knowledge that everywhere the encouragement
+and support came from the highest quarters, always having for its object
+the benefit of the masses.
+
+Thus Italy, France, Germany, Austria, Spain, Russia, Sweden, Norway,
+Denmark, Greece have their endowed or subsidised theatres; they can
+boast of an artistic musical past and operatic tradition, and make a
+proud show of creative and interpreting talent for over two centuries.
+It is equally well known that the patronage thus accorded, always took
+the form of a monetary subsidy granted either by a Sovereign or by a
+municipality--at times for a period of years, at others for a specified
+occasion, sometimes unconditionally, sometimes under certain
+restrictions, now limited to a given figure, then giving the manager
+_carte blanche_. The solicitude and favour shown by the State went at
+times the length of taking a direct interest in the management of an
+opera house, as was the case for a certain period in France.
+
+England alone in civilised Europe remained indifferent, and took no
+active part either in fostering or patronising the new form of art; and
+whilst the spirit of emulation was animating other states and nations
+towards helping native production, England was satisfied to import
+spectacles and performers from abroad, just as she would have imported
+any other commodity. True enough, only the best article was brought
+over, and the best price paid in the highest market. If one could reckon
+up the money thus spent on foreign operatic performances within the last
+hundred years, the figures would prove instructive--instructive, that
+is, of England's foolhardiness in alienating so much national cash,
+without any benefit to the nation, and to the direct detriment of native
+talent. For over a century this country has been the happy
+dumping-ground of Italian opera and Italian singers and dancers; for
+there was a time when a ballet and a _prima ballerina_ were of paramount
+importance in an operatic season. Within late years French, Belgian,
+German, American, Polish and even Dutch singers have found their
+El-Dorado in England. Composers of all nations have found hospitality
+and profit. Foreign conductors, _virtuosi_, teachers and chorus-singers
+have taken up a permanent abode here, and things have come to such a
+pass that one may well wonder whether there is any room at all for an
+Englishman, and whether the time has not arrived for a voice to be
+raised on behalf of native artists and native art.
+
+It is not as though native opera had failed to show signs of life. Our
+failure to create a body of art comparable with that of Germany, Italy
+and France has sometimes been attributed to inherent lack of the
+dramatic instinct in music, but that view is contradicted by the
+historical facts. From the time of Purcell, whose operatic genius is
+beyond question, neither the impulse to write on the part of musicians
+nor the capacity to appreciate on the part of the public has been
+lacking. We find throughout the eighteenth and nineteenth centuries,
+breaking through the stifling influence of exotic art, an irrepressible
+tendency towards the creation of a purely native form of opera. Again
+and again English or British composers returned to the task with
+significant, if temporary, success. The list is surprisingly large and
+almost continuous down to the present day. It includes many forms of
+art, some of which have no pretension to a high standard, but the one
+thing common to them all is the yearning towards some sort of musical
+drama which they exhibit. This is seen in nothing more plainly than in
+the "ballad operas" of the eighteenth century, which were inaugurated by
+the immensely popular _Beggar's Opera_ in 1728, only some thirty years
+after Purcell's flourishing period. A string of ballads took the public
+by storm when thrown into a dramatic setting. Arne's ambitious project
+of building up in the middle of the century an English operatic school
+to rival the Italians in their own domain indicates an instructive
+confidence in the forces of his day. It failed not so much from lack of
+support as from active opposition on the part of those undying enemies
+of the unaccustomed, who play the game of follow-my-leader like a flock
+of sheep. They did it then. They do it now.
+
+This failure did not deter Arne's successors from freely following their
+own operatic bent, in the earlier and less ambitious style. The
+agreeable and distinctive national talent of Dibdin, Arnold, Linley,
+Shield, Horace, Hook, Braham and many others found expression in a host
+of musically set plays, which hugely delighted the public. English
+musicians received encouragement and responded to it. The 1809 English
+Opera House produced a quantity of works, and at the same time Drury
+Lane and Covent Garden offered a field of activity to Bishop, who was a
+born operatic composer of charming and original gifts. To this period
+belongs Balfe, who may be said to mark its culmination. The _Siege of
+Rochelle_, his first opera, was brought out at Drury Lane in 1835, and
+the _Bohemian Girl_, his most successful one, in 1843 at the same
+theatre. This opera has been before the public for nearly sixty years,
+and is still enjoying the undiminished favour of popular audiences.
+Wallace's _Maritana_, which belongs to the same period, is also very
+much alive to this day. Barnett's _Mountain Sylph_ (1834) and Loder's
+_Night Dancers_ (1846) met with as much success and lasted as long as
+four out of five contemporary Italian works, and they were only amongst
+the most prominent of a number of native operas, called forth in this
+period of sunshine and received with appreciation.
+
+This period passed away, and has not been renewed. The promise held out
+by Carl Rosa, an _impressario_ of enlightenment and enterprise, almost
+amounting to genius, was baulked by his premature death, and the
+patriotic effort embodied, in the theatre which is now the Palace Music
+Hall ended in worse than failure. That well-meant but disastrous venture
+was the heaviest blow that English opera has ever received, for it cast
+the shadow of hopelessness over the whole enterprise in the eyes of the
+public in general and the theatrical and musical world in particular.
+Naturally perhaps, but most unjustly.
+
+For the general disappointment and disillusion attending the failure of
+_Ivanhoe_ the critics were largely to blame in holding out expectations
+which could not be realised; the thing was doomed to eventual collapse
+from the outset. It started, it is true, with an unparalleled
+advertisement and amid universal good wishes; it commanded popular and
+fashionable patronage alike, and every adventitious attraction was
+provided with a lavish hand. But it lacked the essential elements of
+real success, and had to fight against insuperable difficulties. In the
+first place, the stage was far too small for grand opera, which moves in
+a large way, requiring large spaces. The principal characters must stand
+out clear, with abundant room for movement and gesture on a heroic
+scale. If they are huddled or crowded up against the chorus--which also
+requires ample space--the action is confused and leaves an impression of
+futility. The effect is gone. This might not altogether prevent
+enjoyment of a familiar work by audiences accustomed to small theatres,
+but it ruins the chances of a new piece conceived on a larger scale, and
+presented in London to playgoers accustomed to more adequate boards. The
+stage at the ambitious New Opera House was so small, and the
+foreshortening so excessive in consequence, that in the opening scene of
+_Ivanhoe_ Cedric and his guests actually sat at meat in Rotherwood Hall
+with their knees above the table, producing a ludicrous effect. And yet
+the piece was projected on the most pompous scale, with tournament,
+siege, fire, solemn trial, battle, murder and sudden death--in short,
+all the details that require the most ample spaces. The reporters were
+told, of course, that the stage was the largest in Europe, and they may
+possibly have believed it. At any rate, they told the public so. They
+ought to have known that _Ivanhoe_ had no chance so cramped and huddled
+together.
+
+The second obstacle was the counterpart of an inadequate stage--to wit,
+an overloaded book. There were too many principal characters. They
+cluttered up the stage, got in each other's way and distracted attention
+from the main action. A skilful novelist can dispose of a great many
+characters in one story; a skilful dramatist can put fewer but still a
+good many into one play, because they are able to explain themselves
+quickly and by-play is admissible. In grand opera it is otherwise. The
+characters move on a higher emotional plane; they express themselves in
+prolonged phrases and accents enlarged beyond the manner of speech,
+consequently they require more time and space. It must all be simple,
+large and clear. There must be no distraction of interest; to have
+several persons of equal importance is fatal. No musician could have
+made a successful opera of such a book as _Ivanhoe_. The talent, skill
+and experience of Sullivan did not fail to produce some agreeable
+numbers, but they failed most egregiously to make grand opera. A
+perpetual sense of disappointment pervaded the piece; it never rose to
+the height demanded by the situation, save when that was comic, and
+occasionally the failure was absolutely painful. The music kept trying
+to soar, but was all the time chained by the leg. The reason is obvious.
+You cannot serve two masters, nor can a man who has devoted a life to
+light musical composition, suddenly command the powers which can only be
+won by toil, and tribulation, and faithful devotion to a high ideal. To
+crown this fabric of shortcomings, the management committed the folly of
+running _Ivanhoe_ every night. No masterpiece could have stood a test of
+this kind. And it was thus, with this single unfortunate specimen, that
+English opera was to be established. Let no one be cast down by this
+failure. We may rather point to the attempt, to the widespread interest,
+and to the eager if ill-founded hopes that accompanied it, as signs of
+vitality. They indicate the existence of a demand, while the recurrent
+efforts of recent, and of still living composers--of Goring, Thomas,
+Corder, Stanford, Cowen, Mackenzie, M'Cunn and De Lara--prove that the
+dramatic instinct has not departed from British composers, and that it
+is not hopeless to look for a supply in answer to the demand. The seed
+only needs systematic encouragement, and intelligent cultivation to bear
+fruit. I firmly believe that the time is ripe for such encouragement to
+come from an official sphere; in other words, I advocate State
+intervention in the matter, and the establishment of a subsidised
+national opera house on the lines successfully adopted in other
+countries. And that we may profit by the experience of others, let us
+examine how continental nations fare under the ægis of State-aided Art.
+
+Italy, Germany and France present the most characteristic instances, and
+I will take a bird's-eye view of the operatic machinery in them,
+beginning with Italy.
+
+FOOTNOTES:
+
+[A] Here is an extract of this _privilège_:--"Nous avons au dit
+Perrin, accordé et octroyé, accordans et octroyons par les présentes
+signées de notre main la permission d'etablir en notre bonne ville de
+Paris et autres de nostrec Royaume, des Académies composées de tel
+nombre et qualité de personnes qu'il avisera, pour y représenter et
+chanter en public des opéra et représentations en musique et en vers
+français, pareilles et semblables à celles d'Italie. Et pour
+dédommager l'Exposant, des grands frais du'il conviendra faire pour
+les dites Représentations, tant pour les Théatres, Machines,
+Décorations, Habits qu'autres choses nécessaires; nous luy permettons
+de prendre du public telles sommes qu'il avisera et à cette fin
+d'etablir des gardes et autres gens nécessaires à la porte des lieux
+où se feront les dites Représentations; Faisant très expresses
+inhibitions et défences à toutes personnes de quelque qualité et
+condition qu'elles soient, _mesme aux officiers de nostre Maison d'y
+entrer sans payer, et de faire chanter de pareils opéra ou
+Représentations en musique et en vers français_ dans toute l'entendue
+de nostre Royaume pendant douze années sans le consentement et
+permission du dit exposant, à peine de dix huit mil livres d'amende,"
+etc., etc.
+
+
+
+
+Italy
+
+
+There are about five hundred theatres in Italy, and quite one half of
+these have seasons of opera at various times of the year. The
+traditional Italian operatic season begins on the 26th December of each
+year at San Stefano Day, and is called the Carnival Season; then follows
+Quaresima or Lent Season and Primavera or Spring Season--altogether some
+five months of opera. Besides these there exist (_stagioni di fiere_)
+short seasons of one or two weeks' duration, at the time of certain
+famous fairs. There are autumn seasons, and sporadic performances at
+fashionable summer and bathing resorts. I am quite within strict
+probability in asserting that in Italy two hundred odd theatres are
+devoted to opera the whole year round. These theatres may be briefly
+divided into two classes--municipal and private ones. The latter are run
+very much on the same lines as private theatres anywhere else, and do
+not come within the scope of my consideration.
+
+The State does not interfere in any way with Italian theatres, and such
+help as these receive comes either from municipalities, or especially
+formed associations of institutions linked by common interest with the
+working of a theatre. But the principle of such help is always that of
+an act performed for the public good, or, as it is officially termed,
+_per ragioni di pubblica utilita_, and it naturally takes the form of a
+monetary subsidy. This suésidy varies according to the importance of the
+theatre, the rank of the city, the prospects of the season, and its
+grant is altogether opportunistic and at times arbitrary. In the
+majority of Italian theatres boxes are proprietary, and the
+_palchettisti_ (box-holders) have a direct interest and a vote of some
+weight in the prospective arrangements of a season. The _impressario_
+desirous of running an operatic theatre must submit his prospectus to
+the box-holders at the same time he submits it to the municipality from
+which he wishes to obtain his contract, and of course, his subsidy. A
+theatrical board (_Commissione Teatrale_), composed of local
+authorities, and box-holders examines the prospectus, and if the
+decision is unfavourable another plan has to be submitted by the same
+man, or another aspirant, or perhaps the _Commissione_ has a scheme of
+its own. As a rule, stipulations comprise either a novelty or a
+favourite opera, called in this case "obligatory" (_opera d'obbligo_), a
+ballet, or simply a specified number of performances. The length of the
+season varies from eight days (_stagione di fiera_) to two months, the
+repertory may consist of one opera or twenty, whilst the figure of the
+subsidy is anything between £20 and £8000. The average, however, is
+three operas for a medium season of one month--one obligatory, one _di
+repiego_ (for a change) and another, _da de Stinarsi_ (to be selected),
+at the choice of the _impressario_ or in accord with the _Commissione_.
+Five performances weekly are the orthodox number, Mondays and Fridays
+being recognised as days of rest.
+
+If an agreement is arrived at, the _impressario_ is put in possession of
+the theatre for the period stipulated, and sets about running his
+season. He is given but the bare building and seats; he has to provide
+scenery, costumes, orchestra and chorus in addition to his company of
+artists. Sometimes orchestra and chorus are local institutions, and
+there are small places in which the conductor is an _employé_ of the
+municipality engaged for a period of years to play the organ in church,
+teach music at schools, conduct open-air concerts and also the operatic
+season. In such a case a part of the subsidy, equivalent to all the
+salaries, is retained to guard against accidents, or else a sum is set
+apart for that purpose out of a deposit lodged by the _impressario_ with
+the _Commissione_ or the municipality.
+
+The budget of the manager depends on the subsidy and the subscription,
+in which box-holders must perforce participate owing to the system of
+_ingresso_ or entrance ticket--a system which consists in charging so
+much (a uniform price, as a rule) for entrance in addition to the price
+of your ticket. _Ingresso_ simply gives you the right to standing room,
+or you may join some friends in a box of theirs; and this method has
+been devised in view of the _palchettisti_, whose boxes would otherwise
+prove a profitless asset. The _palchettisti_ subscribe to the
+_ingresso_, and the general public to seats and _ingresso_ combined. But
+the _impressario_ does not get his subscription until he has given
+one-half of the stipulated performances. There is a further perquisite,
+called _adobbo_, in some southern Italian theatres--the Naples San
+Carlo, for instance--which brings in a goodish sum of money, and
+consists in charging two francs for attendance in every box. Judging
+from the name _adobbo_, it must be a relic of a time when attendance
+comprised some kind of "fixing" you up in your box. It is nothing of the
+sort to-day, and I am unable to explain why, after having paid for your
+box and _ingresso_, you are charged for the _adobbo_, which seems to me
+first cousin to the obnoxious _petit banc_ in French theatres. Besides
+these two elements, subvention and subscription, the _impressario_ has
+also the resource of raising the prices of seats, and entrance tickets
+how, and when, he pleases during the season, the fluctuation affecting,
+however, non-subscribers only. As a rule, the opening night of the
+season, and the production of a novelty are generally singled out for
+the adoption of this device; but, naturally enough, your manager has
+recourse to the measure, whenever an opera of his proves a sure draw,
+and results, just as much as customs, are there to justify the
+expedient. Should, however, the public fail to respond, the prices are
+lowered with the same alacrity with which they were raised. Thus you may
+have to pay £4 for your stall, say, at La Scala, day after day, or you
+may see on Wednesday for 5 francs (4s.) a performance you would have had
+to pay 100 francs (£4) for had you bought your ticket on Monday.
+
+This principle pervades the uses and customs of the Italian theatrical
+world, and is applicable to the letting of scores by publishers, who,
+untrammelled by such institutions as the Société des Auteurs in France,
+or special laws as in Spain, can charge what they please for the hire of
+band parts and scores. There is nothing to prevent the publisher of
+_Lucia di Lammermoor_ from letting the music of the opera for 50 francs
+(£2) to an _impressario_ at Vigevano and charging 20,000 francs (£800)
+to another who produces it, say, at the Argentina of Rome, with Melba in
+the title-rôle.
+
+The music publisher in Italy has a unique position amongst publishers,
+but quite apart from this, he enjoys so many prerogatives as to be
+almost master of the operatic situation in that country. He can put what
+value he pleases on the letting of the score he owns, and has the
+absolute right over the heads of the Theatrical Board to reject artists
+already engaged, including the conductor. He can take exception to
+costumes and scenery and withdraw his score as late as the dress
+rehearsal.
+
+This is called the right of _protesta_. It does not follow that such
+right is exercised indiscriminately, spitefully or frequently, but it is
+sufficient that it exists, and what between the _Commissione Teatrale_,
+the _palchettisti_ and the publisher, the _impressario_ in Italy is not
+precisely on a bed of roses. Still, in spite of such impedimenta,
+Italian opera flourished for well-nigh two centuries, and Italian
+singers, repertory and language were considered all but synonymous with
+every operatic enterprise, during that period. This ascendency lasted as
+long as proper incentives for development of the art were steadily
+provided by responsible bodies; in other words, so long as the great
+theatres of Italy--La Scala at Milan, San Carlo at Naples, Communale at
+Bologna, Apollo at Rome, Fenice at Venice, Carlo Felice at Genoa, Raggio
+[transcriber: Regio?] at Turin, Pergola at Florence, etc.--were in
+receipt of regular subventions. But political and economical changes in
+the country turned the attention of public bodies towards other
+channels, and the radical tendencies of most municipalities went dead
+against the artistic interests of the country. In spite of warnings
+from most authoritative quarters, the opposition, towards subsidising
+what was wrongly considered the plaything of the aristocracy grew apace,
+and the cry became common that if dukes and counts, and other nobles
+wanted their opera, they should pay for it. Subsidies were withdrawn
+here, suspended there, cut short in another place, and altogether
+municipal administration of theatres entered upon a period the activity
+of which I have already qualified, as opportunistic and arbitrary. In
+vain did a great statesman, Camillo Cavour, argue the necessity of
+maintaining at all costs, the time-honoured encouragement, and help to
+pioneers of the Italian opera, bringing the discussion to an absolutely
+practical, if not downright commercial, level. "I do not understand a
+note of music," said he, "and could not distinguish between a drum and a
+violin, but I understand very well that for the Italian nation, the art
+of music is not only a source of glory, but also the primary cause of an
+enormous commerce, which has ramifications in the whole world. I believe
+therefore that it is the duty of the Government to help so important an
+industry." The municipalities remained obdurate, and the start of their
+short-sighted policy coincided with the gradual decadence of Italian
+opera, until this form of entertainment lost prestige, and custom with
+the best of its former clients, England, Russia and France. We know how
+things on this count stand with us. In Russia, Italian opera, formerly
+subsidised from the Imperial purse, was left to private enterprise, and
+all available funds and encouragement transferred to national opera
+houses; whilst in France the reaction is such, that even the rare
+production of an Italian opera in one of the French theatres is
+tolerated and nothing more.
+
+
+
+
+Germany
+
+
+The organisation of theatres in the German Empire is quite different and
+widely different the results! Let us take only the Court theatres
+(Hoftheater), such as the opera houses of Berlin, Munich, Dresden,
+Wiesbaden, Stuttgart, Carlsruhe and Darmstadt in Germany, those of
+Vienna and Prague in Austria, and the municipal theatre of Frankfort.
+
+These theatres are under the general direction of Court dignitaries,
+such as H.E. Count Hochberg in Berlin and H.S.H. Prince von Lichtenstein
+in Vienna, and under the effective management of Imperial "Intendants"
+in Vienna and Berlin, a Royal "Intendant" at Munich, Dresden, Wiesbaden,
+Stuttgart and Prague, Grand-Ducal at Carlsruhe and Darmstadt, and
+municipal at Frankfort.
+
+The "Intendants" do not participate either in the risks or profits of
+the theatre, but receive a fixed yearly salary varying between 20,000
+and 30,000 marks (£1000 to £1500). They have absolute freedom in the
+reception of works, the engagements of artists, the selection of
+programmes and repertory, and are answerable only to the Sovereign,
+whose Civil List provides the subsidy, balances accounts, and
+contributes to the settling of retiring pensions of the _personnel_.
+
+The Berlin Opera House receives a yearly subvention of 900,000 marks, or
+£45,000.
+
+The Vienna Opera House has 300,000 florins (about £25,000) for a season
+of ten months. The deficit, however, if any, is made good from the
+Emperor's Privy Purse.
+
+The King of Saxony puts 480,000 marks (£24,000) at the disposal of Count
+Intendant Seebach. It is interesting to note that in 1897 only 437,000
+marks were actually spent. The orchestra of the Dresden Opera House does
+not figure in the budget, its members being Royal "servants" engaged for
+life and paid by the Crown.
+
+At Munich it is the same, the orchestra being charged to the Civil List
+of the Regent of Bavaria. The cost is 250,000 marks (£12,500), and a
+similar sum is granted to Intendant Possart for the two theatres he
+manages (Hof and Residenz). The season lasts eleven months.
+
+Wiesbaden comes next with a subvention of 400,000 marks, (£20,000)
+granted by the Emperor of Germany as King of Prussia. The season is of
+ten months' duration.
+
+The Court Theatre at Stuttgart is open for ten months, and the Royal
+subvention to Baron von Putlitz, the Intendant, is 300,000 marks
+(£15,000).
+
+The same sum is granted by the Grand Duke of Baden to the Carlsruhe
+theatre for a season of ten months.
+
+The subvention of Darmstadt is only 250,000 marks (£12,500), the season
+lasting but nine months.
+
+The States of Bohemia grant a sum of 180,000 florins (£15,000 odd) to
+the theatres of Prague for a season of eleven months. 100,000 florins
+(£8000 odd) of this sum are destined for the National Tcheque Theatre.
+
+Frankfort, as an ancient free city, does not enjoy the privileges of
+princely liberality, and has to put up with municipal help, which
+amounts to a yearly donation of 200,000 marks (£10,000) for a season of
+eleven months, and then the Conscript Fathers contrive to get one-half
+of their money back by exacting a duty of 30 pfennigs on every ticket
+sold. A syndicate, with a capital of £12,500, has been formed to help
+the municipal institution.--Mr Claar.
+
+The chief advantages of Court theatres consist in a guarantee against
+possible deficit, and freedom from taxes; and this enables the
+Intendants to price the seats in their theatres, in a manner which makes
+the best opera accessible to the most modest purse. The prices of stalls
+in German theatres vary between 3 and 6 marks or 3 to 4 florins. (3s. to
+6s. or 7s). Other seats are priced in proportion, and a considerable
+reduction is made in favour of subscribers. These are simply legion, and
+at Wiesbaden the management have been compelled to limit their number.
+
+The table below, shows at a glance the price of stalls in some of the
+chief German theatres. I give the average figure, the price varying
+according to the order of the row.
+
+  Vienna                   4 fls. (about 7s.)
+  Berlin                   6 mks. (6s.)
+  Munich    }
+  Wiesbaden }              5 mks. (5s.)
+  Frankfort }
+  Prague (Nat. Th.)        3 fls. (about 5s.)
+    "    (German Th.)      2.50 (about 4s.)
+  Dresden   }              4 mks. (4s.)
+  Stuttgart }
+  Darmstadt                3.50 (3s. 6d.)
+  Carlsruhe                3 mks. (3s.)
+
+The subscriptions are divided into four series, giving each the right to
+two performances weekly, but of course anyone can subscribe for more
+than one series. A yearly subscription comprises--at Berlin and Prague,
+280 performances; at Vienna, 260; at Munich, 228; at Wiesbaden, 200;
+and at Frankfort, 188. To subscribers the prices of stalls are as
+follows:--
+
+  Vienna            3 fls. 7 kr. (6s.)
+  Wiesbaden         5 mks. (5s.)
+  Berlin            4.50 (4s. 6d.)
+  Frankfort         3.51 (3s. 6d.)
+  Munich            3.47 (3s. 6d.)
+  Darmstadt         2 mks. (2s.)
+  Prague            1 florin (1s. 9d.)
+
+These figures suffice to prove the colossal benefit princely patronage
+and subvention bestow on the theatre-goer, in putting a favourite
+entertainment within the reach of the masses. Moreover, the German
+opera-goer is catered for both in quality and quantity.
+
+As regards quality, he has the pick of the masterpieces of every school,
+nation and repertory. Gluck, Spontini, Cherubini, Auber, Hérold,
+Boieldieu, Mozart, Beethoven and Weber hobnob on the yearly programmes
+with Wagner, Verdi, Mascagni, Puccini, Giordano and Leoncavallo, to cite
+a few names only. As regards quantity, the following details speak for
+themselves--I take the theatrical statistics for the year 1895-1896:--
+
+The Berlin Opera House produces 60 various works--52 operas and 8
+ballets.
+
+The Vienna Opera House 74 works--53 operas and 21 ballets.
+
+The New German Theatre at Prague--45 operas, 11 light operas and two
+ballets.
+
+The Frankfort Theatre--60 operas, 11 operettes, 4 ballets and 13 great
+spectacular pieces.
+
+At Carlsruhe--47 operas and 1 ballet.
+
+At Wiesbaden--43 operas and 6 ballets.
+
+At Darmstadt--48 operas, 2 operettes and 5 ballets.
+
+At Hanover--37 operas.
+
+At the National Theatre, Prague--48 operas and 6 ballets.
+
+At Stuttgart--53 operas and 5 ballets.
+
+At Munich--53 operas and 2 ballets.
+
+At Dresden--56 operas, 5 ballets and 4 oratorios.
+
+These are splendid results of enterprise properly encouraged, and I am
+giving only a fraction of the information in my possession, for there
+are no less than ninety-four theatres in Europe, where opera is
+performed in German, and of these seventy-nine are sufficiently well
+equipped to mount any great work of Wagner's, Meyerbeer's, etc.
+
+Most of these theatres produce every year one new work at least, and
+thus the repertory is constantly renewed and augmented.
+
+Every German theatre has attached to it a "choir school," where girls
+are admitted from their fifteenth year and boys from their seventeenth.
+They are taught _solfeggio_ and the principal works of the repertory.
+The classes are held in the early morning, so as not to interfere with
+the pursuit of the other avocations of the pupils; but each receives,
+nevertheless, a small yearly salary of 600 marks (£30). These studies
+last two years, and during that time the pupils have often to take part
+in performances, receiving special remuneration for their services. When
+they are considered sufficiently well prepared, they pass an
+examination, and are appointed chorus-singers at a salary of 1000 to
+1800 marks (£50 to £90) a year, and are entitled besides to a special
+fee (_Spielgeld_) of 1s. 6d. to 2s. 6d. per performance for an ordinary
+chorus-singer, and 2s. to 5s. for a soloist. If we reckon that a
+chorus-singer, can take part on an average in some 250 performances in a
+year, at an average fee of, say, 2s. each, we find that his income is
+increased by a sum of £25, a very decent competence. Nor is this all. In
+the smallest German towns, in the most modest theatres, there exist
+"pension funds" for all theatrical artists and _employés_. These funds
+are fed:--
+
+      (1.) By a yearly donation from the Sovereign's Privy Purse.
+
+      (2.) By retaining from 1 per cent. to 5 per cent. on the
+      salaries of members.
+
+      (3.) From benefit concerts and performances.
+
+      (4.) From all kinds of donations, legacies, fines, etc.
+
+At Stuttgart the King takes charge of all the pensions, except of those
+of widows and orphans, who are provided for from another fund.
+
+At Munich the King furnishes the original capital with a sum of 200,000
+marks (£10,000), and to-day the fund has over 1,000,000 marks at its
+disposal. Eight years' service entitles a member to a full pension.
+
+At Prague six years' service gains a pension, but the average period
+throughout Germany is ten years.
+
+There are scores of additional points of great interest, in connection
+with the working of German subsidised theatres. The above suffices,
+however, for the purpose of showing the immense advantage of a system of
+State-aided Art, a system that might serve as a model to a country about
+to embark on similar enterprises. I will add one detail more. There
+being no author's society in Germany, as in France, the theatrical
+managers treat with music publishers direct for the performing rights of
+scores which they own. The old repertory costs, as a rule, very little,
+and the rights of new works are charged generally from 5 per cent. to 7
+per cent. on the gross receipts. Moreover, band parts and scores are not
+hired, as in Italy, but bought outright, and remain in the library of
+the theatre.
+
+
+
+
+France
+
+
+In France the State intervenes directly in theatrical matters in Paris
+only, subsidising the four chief theatres of the capital--to wit, the
+Opéra, the Opéra Comique, the Comédie Française and the Odéon.
+
+In the provinces theatres are subsidised by municipal councils, who vote
+each year a certain sum for the purpose. The manager is appointed for
+one year only, subject to his acceptance of the _cahier des charges_, a
+contract embodying a scheme of stipulations devised by the council, and
+imposed in return for the subsidy granted. The least infraction of the
+conditions laid therein brings its penalty either in the way of a fine
+or the forfeit of the contract. The subsidies vary according to the
+importance of the town, the theatres of Lyons, Bordeaux and Marseilles
+being the three best endowed. Less favoured are places like Rouen,
+Lille, Nantes, Dijon, Nancy, Angers, Reims, Toulouse, etc., and, though
+the Chamber of Deputies votes every year in the Budget of Fine Arts a
+considerable sum for the provinces, the subsidy is not allotted to
+theatres, but to conservatoires, symphonic concerts and orpheonic
+societies. Two years ago a Deputy, M. Goujon, obtained in the Chamber
+the vote of a special grant for such provincial theatres as had
+distinguished themselves by producing novelties. But the Senate threw
+out the proposal.
+
+It is not, however, as if the Government of the Republic were
+indifferent to the fate of the provincial theatres or their progress in
+the field of operatic art. But worship of Paris on one side, and a
+dislike to decentralisation on the other, are responsible for the fact
+that all efforts are directed towards one channel, namely, the four
+before-named Parisian theatres. Of these, naturally enough only the
+opera house will engage my attention, or more precisely one alone, the
+Grand Opera House, _La Théâtre National de l'Opéra_, there being little
+practical difference between the working of that and of the younger
+house, the _Théâtre de l'Opéra Comique_.
+
+A few words, following chronologically the various stages through which
+the Paris Opera House has passed since its origin, may prove of
+interest, and serve to indicate how untiring has been the care of
+successive Governments over the fortunes and the evolution of the
+operatic problem in France.
+
+It will be remembered that Pierre Perrin was the possessor of the first
+operatic privilege granted by Louis XIV. in 1669. Hardly had he been
+installed when Lulli began to intrigue against his management, and
+having learnt that the profits of the first year amounted to over
+120,000 livres, he had no rest until he obtained, through the influence
+of Mme. de Montespan, the dismissal of Perrin and obtained the post for
+himself. In fifteen years his net profits amounted to 800,000 livres!
+
+He was succeeded by his son-in-law, Francine, who held the privilege
+with various fortunes until 1714, the King intervening more than once in
+the administration. In 1715 the Duc d'Antin was appointed _Regisseur
+Royal de l'Académie_ by letters-patent of the King, who up till then
+considered himself supreme chief of his Academy.
+
+In 1728 the management passed into the hands of Guyenet, the composer,
+who in turn made over the enterprise, for a sum of 300,000 livres, to a
+syndicate of three--Comte de Saint-Gilles, President Lebeuf and one
+Gruer. Though their privilege had been renewed for thirty years, the
+King, Louis XV., was obliged to cancel it owing to the scandal of a
+_fête galante_ the syndicate had organised at the Académie Royale, and
+Prince de Carignan was appointed in 1731 _inspecteur-general_. A captain
+of the Picardy regiment, Eugene de Thuret, followed in 1733, was
+succeeded in 1744 by Berger, and then came Trefontainé, whose management
+lasted sixteen months--until the 27th of August 1794. All this was a
+period of mismanagement and deficits, and the King, tired of constant
+mishaps and calls upon his exchequer, ordered the city of Paris to take
+over the administration of his Academy. At the end of twenty-seven years
+the city had had enough of it, and the King devised a fresh scheme by
+appointing six "Commissaires du Roi pres la Académie" (Papillon de la
+Ferte, Mareschel des Entelles, De la Touche, Bourboulon, Hébert and
+Buffault), who had under their orders a director, two inspectors, an
+agent and a cashier. But the combination was short-lived, lasting barely
+a year. In 1778 the city of Paris made one more try by granting a
+subvention of 80,000 livres by a Sieur de Vismos.
+
+In 1780 the King took back from the city the operatic concession--we
+must bear in mind it was a monopoly all this time--appointing a
+"Commissaire de sa Majeste" (La Ferte) and a director (Berton).
+
+In 1790 the opera came once more under the administration of the city,
+and during the troublous times of the Revolution changed its name of
+Académie Royale to that of _Théâtre de la République et des Arts_.
+
+By an Imperial decree of the 29th of July 1807 the opera came under the
+jurisdiction of the first Chamberlain of the Emperor, whilst under the
+Restoration the Minister of the King's Household took the
+responsibilities of general supervision. One Picard was appointed
+director under both _régimes_, and was succeeded by Papillon de la Ferte
+and Persius. Then followed the short management of Viotti, and in 1821
+F. Habeneck was called to the managerial chair.
+
+The Comte de Blacas, Minister of the King's Household, became
+superintendent of Royal theatres, and after him the post was occupied by
+the Marquis de Lauriston, the Duc de Doudeauville and the Vicomte
+Sosthenes de la Rochefoucauld. Habeneck was replaced by Duplantis, who
+took the title of Administrator of the Opera. The administration of M.
+de la Rochefoucauld cost King Louis Philippe 966,000 francs in addition
+to the State subvention, and an extra subsidy of 300,000 francs derived
+from a toll levied in favour of the opera on side shows and fancy
+spectacles. This was in 1828, and in 1830 the King, finding the
+patronage of the opera too onerous for his Civil List, resolved to
+abandon the theatre to private enterprise. Dr Veron offered to take the
+direction of the opera house, at his own risk, for a period of six years
+with a subsidy of 800,000 francs, and, with the exception of a period of
+twelve years (1854-1866), the administration of the opera was included
+in the duties of the Master of the Emperor's Household. Both the subsidy
+and the principle of private enterprise have remained to this day as
+settled in 1830. Before then, for 151 years, French opera had enjoyed
+the patronage and effective help of the Sovereign, or the chief of the
+State, very much on the same system as obtains at the present day in
+Germany.[B]
+
+Dr Veron had as successors, MM. Duponchel, Leon Pillet, Nestor
+Roqueplan, Perrin, Halanzier, Vaucorbeil, Ritt and Gailhard, Bertrand
+and Gailhard, and finally Pierre Gailhard, the present director of the
+Théâtre National de l'Opéra.
+
+The present relations in France between the State and the director of
+the opera are as follows:--
+
+The Paris Opera House, like all other theatres in France, and for the
+matter of that all institutions in the domain of Art in that country, is
+under the direct control and dependence of the Minister of Fine Arts,
+who has absolute power in appointing a director, in drawing up the
+_cahier des charges_, in imposing certain conditions and even in
+interfering with the administration of the theatre. The appointment,
+called also the granting of the _privilège_, is for a number of years,
+generally seven, and can be renewed or not at the wish or whim of the
+Minister. The _cahier des charges_, as already stated, is a contract
+embodying the conditions under which the _privilège_ is granted. Some of
+these are at times very casuistic. As regards interference, one can
+easily understand how a chief can lord it over his subordinate if so
+minded. It is sufficient to point out the anomaly of the director's
+position who is considered at the same time a Government official and a
+tradesman--a dualism that compels him to conciliate the attitude of a
+disinterested standard-bearer of national art with the natural desire of
+an administrator to run his enterprise for profit. Let me cite a typical
+instance. Of all the works in the repertory of the opera, Gounod's
+_Faust_ still holds the first place in the favour of the public, and is
+invariably played to full or, at least, very excellent houses, so that
+whenever business is getting slack _Faust_ is trotted out as a trump
+card.[C] Another sure attraction is Wagner's _Walküre_. On the other
+hand, a good many operas by native composers have failed to take the
+public fancy, and have had to be abandoned before they reached a minimum
+of, say, twenty performances in one year. Now, when the director sees
+that his novelty is played to empty houses he hastens to put on _Faust_
+or the _Walküre_, but the moment he does it up goes a cry of complaint,
+and a reproof follows--"You are not subsidised to play _Faust_ or operas
+by foreign composers, but to produce and uphold the works of native
+musicians; you are not a tradesman, but a high dignitary in the Ministry
+of Fine Arts," and so on.
+
+At other times, when in a case of litigation, the director wishes to
+avail himself of the prerogatives of this dignity, he is simply referred
+to the Tribunal de Commerce, as any tradesman. Ministerial interference
+is exercised, however, only in cases of flagrant maladministration, and
+then there are, of course, directors and directors, just the same as
+there are Ministers and Ministers.
+
+It is needless to go over the whole ground of the _cahier des charges_,
+the various paragraphs of which would form a good-sized pamphlet. The
+cardinal points of the stipulations between the contracting parties are,
+that the director of the Paris Opera House receives on his appointment
+possession of the theatre rent free, with all the stock of scenery,
+costumes and properties, with all the administrative and artistic
+_personnel_, the repertory, and a yearly subsidy of 800,000 francs
+(£32,000).
+
+In return for this he binds himself to produce every year a number of
+works by native composers, and to mount these in a manner capable of
+upholding the highest standard of art, and worthy of the great
+traditions of the house. This implies, among others, that every new work
+must be mounted with newly-invented scenery and freshly-devised
+costumes, and that in general, no one set of scenery, or equipment of
+wardrobe, can serve for two different operas, even were there an
+identity of situations or historical period or any other points of
+similarity. Thus, if there are in the opera repertory fifty works,
+necessitating, say, a cathedral, a public square, a landscape or an
+interior, the direction must provide fifty different cathedrals, fifty
+different public squares, fifty varying landscapes, etc. The same
+principle applies to costumes, not only, of the principal artists, but
+of the chorus and the ballet. Only the clothes and costumes of
+definitely abandoned works can be used again by special permission of
+the Minister of Fine Arts.
+
+As regards the new works that a director is bound to produce every year,
+not only is their number stipulated, but the number of acts they are to
+contain, and their character is specified as well. This is in order to
+avoid the possible occurrence of a production, say, of two works each in
+one act, after which exertion a director might consider himself quit of
+the obligation. It is plainly set out that the director must produce in
+the course of the year _un grand ouvrage_, _un petit ouvrage_, and a
+ballet of so many acts each--total, eight, nine or ten acts, according
+to the stipulations. Moreover, he is bound to produce the work of a
+_prix de Rome_--that is to say, of a pupil of the Conservatoire, who has
+received a first prize for composition, and has been sent at the expense
+of the Government to spend three years at the Villa Medicis of the
+Académie de France in Rome. Owing to circumstances, the Minister himself
+designates the candidates for this _ex-officio_ distinction, guided by
+priority of prizes. The director had recourse to this measure through
+the fault of the _prix de Rome_ themselves, who, over and over again,
+either had nothing ready for him or else submitted works entirely
+unsuitable for the house. The Minister's nomination relieves the
+director of responsibility in such cases.
+
+Works of foreign composers produced at the opera, do not count in the
+number of acts stipulated by the _cahier de charges_, the respective
+paragraphs being drawn up in favour of native composers; nor can any
+excess in the number of acts produced in one year be carried over to the
+next year.
+
+Amongst the prerogatives of the Paris opera director, is the absolute
+monopoly of his repertory in the capital--works in the public domain
+excepted--and the right to claim for his theatre the services of those
+who gain the first prizes at the final examinations of the operatic
+classes at the Conservatoire.
+
+Towards the working expenses of his theatre the director has, firstly,
+the subvention and the subscription, and, secondly, the _alea_ of the
+box-office sales. The subvention of 800,000 francs divided by the number
+of obligatory performances gives close upon £170 towards each, and the
+subscription averages £400 a night, or £570 as a minimum with which the
+curtain is raised, and it is the manager's business to see that his
+expenses do not exceed the sum. The "house full" receipts being very
+little over £800 at usual prices, the margin is not very suggestive of
+huge profits. Indeed, with the constantly rising pretensions of star
+artists, spoilt by the English, and American markets, and the fastidious
+tastes of his patrons, the Paris opera director has some difficulty in
+making both ends meet. Within the last fifteen years the two Exhibition
+seasons have saved the management from financial disaster, and this only
+by performing every day, Sundays sometimes included. Some fifty new
+works by native composers have been produced at the opera since the
+opening of the new house in 1876, and six by foreign composers--_Aida_,
+_Otello_, _Lohengrin_, _Tannhäuser_, _Walküre_, and _Meistersinger_. The
+maximum of performances falls to _Romeo et Juliette_, this opera heading
+also the figure of average receipts with 17,674 francs (about £507).
+Eleven works have had the misfortune to figure only between three and
+nine times on the bill.
+
+Independently of the supervision exercised by the Minister of Fine Arts,
+the strictest watch is kept over managerial doings by the Société des
+Auteurs, a legally constituted body which represents the authors'
+rights, and is alone empowered to treat in their names with theatrical
+managers, to collect the fees, to guard the execution of contracts and
+even to impose fines.
+
+Thus is national art in France not only subsidised and patronised, but
+safeguarded and protected.
+
+FOOTNOTES:
+
+[B] It may be of interest to note that during this period no less than
+543 different works, mostly by native composers, had been produced.
+The last opera produced under the old _régime_ on the 3rd of August
+1829 was Rossini's _Guillaume Tell_.
+
+[C] During 1900 _Faust_ was played thirty-nine times to an average
+house of 18,397 francs (about £730) in a repertory of twenty-five
+operas, and the _Walküre_ eleven times to an average of 19,417 francs
+(about £777).
+
+
+
+
+The English National Opera House
+
+
+Three factors determine the existence of any given theatre and have to
+be considered with reference to my proposed National Opera House,
+namely, tradition, custom, and enterprise.
+
+I have proved we possess an operatic tradition, and as regards custom no
+one will dispute the prevalence of a taste for opera. Indeed, from
+personal experience, extending over a number of years, I can vouch for a
+feeling akin to yearning in the great masses of the music-loving public
+after operatic music, even when stripped of theatrical paraphernalia,
+such, for example, as one gets at purely orchestral concerts. It is
+sufficient to follow the Queen's Hall Wagner concerts to be convinced
+that the flattering patronage they command is as much a tribute to the
+remarkably artistic performance of Mr Henry Wood, as it is due to the
+economy of his programmes. Again, in the provinces, I have observed,
+times out of number, crowded audiences listening with evident delight,
+not only to popular operas excellently done by the Moody-Manners'
+Company, but to performances of _Tristan_ and _Siegfried_, which, for
+obvious reasons, could not give the listeners an adequate idea of the
+real grandeur of these works. But the love of opera is there, and so
+deeply rooted, that, rather than be without it, people are willing to
+accept what they can get.
+
+This much, then, for tradition and custom.
+
+As regards enterprise in the operatic field, it can be twofold--either
+the result of private initiative, working its own ends independently, or
+else it is organised, guided, and helped, officially.
+
+It is under the former aspect that we have known it, so far, in this
+country, and as we are acquainted with it, especially in London, we find
+it wanting, from the point of view of our special purpose. Not that it
+should be so, for the Covent Garden management, as at present organised,
+could prove an ideal combination for the furtherance of national art,
+were its aims in accordance with universal, and, oft-expressed, desire.
+What better can be imagined than a theatre conducted by a gathering
+representative of, nobility, fashion, and wealth?
+
+It is under such auspices that opera originated, and that native art
+sprang to life and prospered everywhere; and it is to these one has the
+right to turn, with hope and trust, in England. But when wealth and
+fashion stoop from the pedestal assigned to them by tradition, and
+barter the honoured part of Mæcenas for that of a dealer, they lose the
+right to be considered as factors in an art problem, and their
+enterprise may be dismissed from our attention. For the aim of an opera
+house, worthy of a great country like England, should not be to make
+most money with any agglomeration of performers, and makeshift
+_mise-en-scène_, but to uphold a high standard of Art.
+
+But the elimination of private enterprise from my scheme is but one more
+argument in favour of official intervention, and the experience of
+others will stand us in good stead.
+
+Of the three systems of State subsidised theatres, as set out in my
+_exposé_ of operatic systems in Italy, Germany, and France, the ideal
+one is, of course, the German, where the Sovereign's Privy Purse
+guarantees the working of Court theatres, and secures the future of
+respective _personnels_. But the adoption of this plan, or the wholesale
+appropriation of any one other, cannot be advocated, if only because the
+inherent trait of all our institutions is that they are not imported,
+but the natural outcome of historical, or social, circumstances. My
+purpose will be served as well, if I select the salient features of each
+system.
+
+Thus, in the first instance, admitting the principle of State control in
+operatic matters, I will make the furtherance of national art a
+condition _sine qua non_ of the very existence of a subsidised theatre,
+and performances in the English language obligatory.
+
+Secondly, I will adopt the German system of _prevoyance_, in organising
+old age pensions for theatrical _personnels_.
+
+Thirdly, I will borrow from Italy the idea of municipal intervention,
+all the more as the municipal element has become, of late, an
+all-important factor in the economy of our civic life, and seems all but
+indicated to take active part in a fresh phase of that life.
+
+I do not see how any objection can be raised to the principle of these
+three points, though I am fully aware of the difficulties in the way of
+each; difficulties mostly born of the diffidence in comparing the status
+of operatic art abroad, with its actual state in this country. It must
+be borne in mind, however, that I am endeavouring to give help to the
+creation of a national art, and not promoting a plan of competition with
+the operatic inheritance of countries which have had such help for over
+two centuries.
+
+We are making a beginning, and we must perforce begin _ab ovo_, doing
+everything that has been left undone, and undoing, at times, some things
+that have been, and are being, done. Let me say, at once, to avoid
+misapprehension, that I refer here to the majority of the Anglicised
+versions of foreign _libretti_. They are unsatisfactory, to put it very
+mildly, and, will have to be re-written again before, these operas can
+be sung with artistic decency in English. The classes of our great
+musical institutions will have to be reorganised entirely, from the
+curriculum of education to examinations. This is a crude statement of
+the case, the details can always be elaborated on the model of that fine
+nursery of artists, the Paris Conservatoire. We must not be deterred by
+the possible scarcity of native professors, able to impart the
+indispensable knowledge. Do not let us forget that the initial
+instructors of operatic art came from Italy to France, together with the
+introduction of their new art; but, far from monopolising tuition, they
+formed pupils of native elements, and these in turn became instructors,
+interpreters, or creators. The same thing will happen again, if
+necessary, let us by all means import ballet masters, professors of
+deportment, singing teachers, and whoever can teach us what we do not
+know, and cannot be taught by our own men. Pupils will be formed soon
+enough, and the foreign element gradually eliminated. Do not let us
+forget, either, that stalest of commonplaces that "Rome was not built in
+a day."
+
+We are not trying to improvise genii, or make a complete art, by wishing
+for the thing, but we are laying foundations for a future architecture,
+every detail of which will be due to native enterprise, and the whole a
+national pride. To look for immediate results would be as idle as to
+expect Wagners, and Verdis, or Jean de Reszkes, and Terninas, turned
+out every year from our schools, simply because we have a subsidised
+opera house, and reorganised musical classes.
+
+We are bound to arrive at results, and no one can say how great they may
+be, or how soon they may be arrived at. The unexpected so often happens.
+Not so many years ago, for example, operatic creative genius seemed
+extinct in the land of its birth, and the all-pervading wave of
+Wagnerism threatened the very existence of musical Italy, when, lo!
+there came the surprise of _Cavalleria Rusticana_, and the still greater
+surprise of the enthusiasm with which the work was received in Germany,
+and the no less astonishing rise of a new operatic school in Italy, and
+its triumphant progress throughout the musical world. Who can say what
+impulse native creative talent will receive in this country, when it is
+cared for as it certainly deserves?
+
+The question arises now of the most practical manner in which this care
+can be exercised?
+
+Plans have been put forward more than once,--discussed, and discarded.
+This means little. Any child can pick a plan to pieces, and prove its
+unworthiness. Goodwill means everything, and a firm conviction that in
+the performance of certain acts the community does its duty for reasons
+of public welfare. I put more trust in these than in the actual merit of
+my scheme, but, such as it is, I submit it for consideration, which, I
+hope, will be as seriously sincere, as the spirit in which it is
+courted.
+
+I would suggest that the interests of the National Opera House in
+London, should be looked after by a Board under the supervision of the
+Education Department, the members of the Board being selected from among
+the County Councillors, the Department itself, and some musicians of
+acknowledged authority.
+
+The enlisting of the interest of the Educational Department would
+sanction the theory of the educational mission of the venture; the
+County Council comes into the scheme, for financial and administrative
+purposes; the selection of musicians needs no explanation, but a proviso
+should be made that the gentlemen chosen, have no personal interest at
+stake.
+
+As I said before, we have to begin at the beginning, and so the duties
+of the Board would be:--
+
+      1. The building of a National Opera House in London.
+
+      2. The drawing up of a schedule of stipulations on the lines
+      of the French _cahier des charges_ regulating the work of
+      the theatre.
+
+      3. The appointment of a manager.
+
+      4. The supervision of the execution of the stipulations
+      embodied in the schedule.
+
+      5. The provision of funds for the subsidy.
+
+As to the first of these points, I do not at all agree with those who
+wish every new opera house constructed in servile imitation of the
+Bayreuth model. Such a theatre would only be available for operatic
+performances of a special kind, but the structure of the auditorium
+would result in the uniformity of prices which goes dead against the
+principle of a theatre meant for the masses as well as for the classes.
+
+All that I need say here is, that our National Opera House should be
+built in London, and according to the newest inventions, appliances and
+most modern requirements.
+
+As regards the second point, enough has been said about describing
+foreign systems to show how a schedule of stipulations should be drawn
+up, when the time comes.
+
+Concerning the appointment of a manager, it goes without saying that the
+director of our National Opera House must be an Englishman born and
+bred, and a man of unimpeachable commercial integrity and acknowledged
+theatrical experience. Such a selection will make the task of the Board
+in supervising the work an extremely easy one.
+
+The provision of funds is the crucial point of the scheme. Before going
+into details, let me appeal to the memory of the British public once
+more, praying that it will remember that every year some £50,000 or
+£60,000 of national cash is spent in ten or twelve weeks to subsidise
+French, German and Italian artistes in London. It is but reasonable to
+suppose that if an authoritative appeal for funds on behalf of National
+Opera were made, at least half of this money would be forthcoming for
+the purpose. And so I would advocate such an appeal as the first step
+towards solving the financial problem of my scheme. Secondly, there
+would have to be a _first_ Parliamentary grant and an _initial_
+disbursement of the County Council funds, all towards the building of
+the opera house. It is impossible to name the necessary sum; but one can
+either proceed with what one will eventually have, or regulate
+expenditure according to estimates.
+
+The house once built and the manager appointed, both Parliamentary and
+County Council grants will have to be renewed every year, the sum-total
+being apportioned to the probable expenses of every performance, the
+number of performances and the length of the operatic season. The best
+plan to follow here would be to have a season of, say nine or ten
+months, with four performances a week.
+
+The manager would receive the house rent free, but should on his side
+show a working capital representing at least half the figure of the
+annual subsidy, and, further, lodge with the Board a deposit against
+emergencies. Considering the initial expenses of the first management,
+when everything, from insignificant "props" to great sets of scenery
+will have to be furnished in considerable quantities, there should be no
+charges on the manager's profits in the beginning, for a year or two.
+But later on, 10 per cent. off the gross receipts of every performance
+might be collected, one part of the proceeds going towards a sinking
+fund to defray the cost of the construction of the house, and the other
+towards the establishment of a fund for old age pensions for the
+_personnel_ of the opera house.
+
+A further source of income that would go towards indemnifying the
+official outlay might be found in a toll levied on the purchaser of 2d.
+in every 10s. on all tickets from 10s. upwards, of 1d. on tickets
+between 5s. and 10s., and of ½d. on all tickets below 5s. I would make
+also compulsory a uniform charge of 6d. for every complimentary ticket
+given away.
+
+It is well-nigh impossible in the present state of my scheme to go into
+details of figures, especially concerning the official expenditure. But,
+as figures have their eloquence, we may venture on a forecast of such
+returns as might be reasonably expected to meet the outlay. I take it
+for granted that our opera house will be built of sufficient dimensions
+to accommodate an audience of 3000, and arranged to make an average of
+£700 gross receipts (subvention included) per performance possible.
+Taking the number of performances in an operatic season at 160 to 180,
+four performances a week in a season of nine or ten months, we get a
+total of receipts from £112,000 to £126,000, or, £11,200 to £12,600,
+repaid yearly for the initial expenses of the subsidising bodies, as per
+my suggestion of 10 per cent. taken off the gross receipts. The toll
+levied on tickets sold should average from £1446, 13s. 4d. to £1650
+annually, with an average audience of 750 in each class of toll for each
+performance: altogether between £12,646 and £14,250 of grand total of
+returns. From a purely financial point of view, these might be
+considered poor returns for an expenditure in which items easily figure
+by tens of thousands. But, in the first instance, I am not advocating a
+speculation, and secondly, there are other returns inherent to my
+venture, one and all affecting the well-being of the community more
+surely than a lucrative investment of public funds. The existence of a
+National Opera House gives, first of all, permanent employment to a
+number of people engaged therein, and which may be put down roughly at
+800 between the performing and non-performing _personnel_. Such is, at
+least, the figure at all great continental opera houses.
+
+In Vienna, the performing _personnel_, including chorus, orchestra,
+band, ballet, supers and the principal singers, numbers close upon 400.
+Then follows the body of various instructors, regisseurs, stage
+managers, repetiteurs, accompanists, etc., then come all the stage
+hands, carpenters, scene-shifters, machinists, electricians,
+scenographers, modellers, wig-makers, costumiers, property men,
+dressers, etc., etc., etc., and on the other side of the footlights
+there are ushers, ticket collectors, and the whole of the
+administration. Thus one single institution provides 800 people not only
+with permanent employment but with old age pensions. Nor is this all.
+The proper working of a large opera house necessitates a great deal of
+extraneous aid and calls to life a whole microcosm of workers, trader
+manufacturers and industries of all kinds.
+
+Let us take here the statistics for the city of Milan to better grasp my
+meaning. The figures are official, and are taken from a report presented
+to the municipality some time ago, and prove there is a business side of
+vital importance attached to the proper working of the local subsidised
+theatre, La Scala. The following are the items of what they call _giro
+d'affari_, or, in paraphrase, of "the operatic turn-over," and all are
+official figures.
+
+ The receipts of La Scala represent
+ during the season the
+ sum of                                     1,300,000 fr.    (£52,000)
+
+ Out of which a _personnel_ of
+ 816, exclusive of principal artistes,
+ receive salaries.
+
+ There are in Milan eleven
+ operatic agencies transacting
+ every year an average of 300,000
+ francs' (£12,000) worth of
+ business, or altogether                    3,300,000 fr.   (£132,000)
+
+ There are nine theatrical newspapers
+ with an average income
+ of 15,000 francs (£600) each, or
+ altogether                                   135,000 fr.     (£5,400)
+
+ Taking only the nineteen
+ principal singing and ballet
+ masters, and putting down their
+ earnings at the modest sum of 6000
+ francs (£240) each, we get a total of        114,000 fr.     (£4,560)
+
+ The chief theatrical costumiers
+ alone, four in number, return an
+ average business of 80,000 francs
+ (£3200) each, or                             320,000 fr.    (£12,800)
+
+ Theatrical jewellers, property
+ makers, hose manufacturers,
+ armourers, scene-painters, may
+ be put down for                              250,000 fr.    (£10,000)
+
+ The theatrical and artistic
+ population in Milan, year in,
+ year out, averages 3000 persons,
+ and may be divided into three
+ classes of 1000 persons each,
+ according to their expenditure.
+
+ Say 1000 persons spending
+ 4000 francs (£160) each,
+ which makes 4,000,000 francs
+ (£160,000); 1000 persons spending
+ 1000 francs (£40,000);
+ 1000 persons spending 800 francs
+ (£32), which makes 800,000
+ francs (£32,000), a total of               5,800,000 fr.   (£232,000)
+
+ The pianoforte dealers let
+ about 400 instruments every
+ year at 12 francs a month                     57,800 fr.     (£2,312)
+
+ Taking into account only
+ eight of the opera companies
+ (Monte Video, New York,
+ Caracas, Santiago, Madrid,
+ Buenos Ayres, Rio and Lisbon)
+ engaged in Milan, and selected
+ exclusively from Italian artistes,
+ we get a total of                         25,525,000 fr. (£1,021,000)
+
+ Adding all these together, we
+ get a grand total of                      36,801,800 fr. (£1,472,072)
+
+
+Very nearly a million and a half sterling turned over in operatic,
+business in one city. And there are scores of minor items, all sources
+of profit, that have to be neglected. But I must point out that no
+less than 1745 families derive employment and a regular income from
+the theatrical industry of Milan. It is quite true that the capital of
+Lombardy enjoys a position which is unique not only in Italy but in
+the whole world, as the chief operatic market, and there is nothing
+that indicates this artistic centre is likely to be shifted, much less
+to London than anywhere else. But it would be interesting to know how
+much English money goes towards the fine total of the Milanese
+operatic turn-over. There is no reason why we should not have our
+twenty odd trades, as in Milan, and at least 1745 households whose
+material existence would be definitely secured through their
+association with a National Opera House. If I am not writing in vain,
+our results should be infinitely greater, differing from continental
+ones as a franc or a mark differs from a pound sterling. And should
+the great provincial towns follow the lead of London, entrusting their
+municipalities with the creation and organisation of opera houses, if
+Manchester, Liverpool, Birmingham, Leeds, Glasgow, Sheffield,
+Bradford, Dublin, Hull, Southampton, Plymouth, Wolverhampton, etc.,
+will turn a part of their wealth towards promoting a scheme of the
+greatest importance to the art of the nation; if all that goes to
+foreign pockets for foreign art is used for patriotic purposes--then
+England will be able to show an operatic turn-over worthy of her
+supremacy in other spheres. For every Italian household living on
+opera we will have ten, and prosperity will reign where, so far, art
+and an artistic education have brought only bitter disappointment. I
+am writing of "Music as a profession" in England. The multiplication
+of our music schools seems to be accepted as a great matter of
+congratulation, and we are perpetually hearing the big drum beaten
+over the increasing number of students to whom a thorough musical
+education has been given; but who asks what becomes of them all?
+Oft-met advertisements offering music lessons at 6d. an hour are
+perhaps an answer. It would be profitless to pursue this topic, but
+all will agree that it is far better to sing in an operatic chorus at
+30s. or £2 per week than be one of the items in a panorama of vanished
+illusions and struggling poverty, the true spectacle of the singing
+world in London.
+
+The establishment of National Opera in England, putting artistic
+considerations aside, presents the following material and commercial
+advantages, viz., provision of permanent employment for artisans,
+mechanics, workmen and manual labourers; an impulse to various special
+industries, some developed, some improved, others created; an
+honourable occupation to hundreds kept out, so far, from an exclusive
+and over-crowded profession, and a provision for old age. In other
+words, the solution of the operatic problem in England might prove a
+step towards the solution of a part of the social problem.
+
+That my scheme for the establishment of an English National Opera
+House is perfect, I do not claim for a moment. That my plans might be
+qualified as visionary and my hope of seeing a national art called to
+life through the means I advocate considered an idle dream is not
+unlikely.
+
+But my conviction in the matter is sincere, and I can meet the
+sceptics with the words of the old heraldic motto which apologises for
+the fiction of a fabulous origin of a princely house: _etiamsi fabula,
+nobilis est_.
+
+
+
+
+ OPERA FOR THE PEOPLE
+
+
+
+
+ Opera for the People
+
+
+ _The ceremony of opening a new organ, the gift of
+ Mrs Galloway, was performed by Mr W. Johnson
+ Galloway, M.P., in the City Road Mission Hall, Manchester,
+ on Friday evening, September 6, in the presence
+ of a crowded gathering. A Recital was given by Mr
+ David Clegg._
+
+ _Mr Galloway, M.P., who took the chair, in opening
+ the proceedings, said_:--On an occasion such as this, it
+ will not, I am sure, be deemed superfluous if I take a
+ brief bird's-eye view of the history of music, and in a--comparatively
+ speaking--few sentences trace its progress
+ towards the position it now holds among the arts of
+ modern life. Music, in one form at least, has been with
+ us since the creation of man, for we may reasonably
+ believe that in his most elementary stage, he discovered
+ some vocal phrases which gave him a certain rude
+ pleasure to repeat, or chant, in association with his
+ fellows. Travellers, who have penetrated the confines of
+ remote and savage countries, have told us of the curious
+ chanting of their inhabitants when engaged in what, to
+ them, were their religious and festal celebrations; and as
+ we cannot conceive man in a more primitive condition, we
+ may take it, that in prehistoric times there was a limited
+ melodic form, which afforded that peculiar delight to the
+ savage mind, that the glorious polyphonic combination of
+ to-day, give to the cultured races of Eastern and Western
+ civilisation.
+
+ Our slight knowledge of the art, in its early state we
+ owe to such records, as have been handed down to us
+ from that which may be termed the golden era of civilisation
+ in Egypt. Long before the sway of the Ptolemies--ages
+ before Cleopatra took captive her Roman Conqueror--music
+ formed not only an indispensable part in
+ religious and State functions, but entered largely into the
+ social life of the people, and of this there is indisputable
+ evidence in the hieroglyphics and carvings, to be found
+ on the seemingly imperishable monuments, which the researches
+ of archæologists have revealed to the knowledge
+ of man.
+
+ Of ancient Hebrew music we do not know much, but
+ we may assume, that during the Captivity they learned not
+ a little from their Egyptian masters, although it does not
+ appear--judging from the harsher and more blatant
+ character of their instruments--that they attained the
+ degree of refinement achieved by the Egyptians. It
+ would seem, from the many allusions contained in the
+ Bible, that the Jews were more particularly attracted
+ towards the vocal, rather than the instrumental, side of
+ the art. Many a familiar biblical phrase will probably
+ crop up in our mind. The psalms that are sung during
+ Divine Service teem with such references. "O sing unto
+ the Lord a new song," "How shall we sing the Lord's
+ song in a strange land?" are sufficient to illustrate my
+ meaning, and among the daughters of Judea such names
+ as Miriam, Deborah, and Judith, are especially known to
+ us for their accomplishment in the vocal art, and as
+ examples of the manner, in which it was cultivated by
+ the women of Israel.
+
+ Among the ancients, however, the Greeks most assuredly
+ had the keenest perception and appreciation of the beauties
+ and value of music. In the Heroic age it played a
+ significant part in their sacred games, and for a man to
+ acknowledge an ignorance of the principles of musical
+ art, was to confess himself, an untutored boor. In the
+ great tragedies of Sophocles and Euripides it figured
+ largely both vocally and instrumentally, and, even as the
+ Welsh have their Eisteddfod, so the classic Greeks had
+ their competitions, in which choirs from various cities
+ strove for vocal supremacy and the honours of prize-winners.
+
+ That other great race of ancient times which fattened
+ on the spoils of Europe and Asia--I refer to the Romans--treated
+ the art with less concern, and employed it in
+ a cruder form at the celebration of their victories and
+ Bacchanalian revels. They did little or nothing to foster
+ or develop it, although it is said that one of their most
+ famous--or perhaps it would be better to say infamous--rulers
+ was so devoted to music, that he fiddled while
+ his capital was burning. But we may reasonably have
+ our doubts as to Nero's claim to rank as the Sarasate of
+ his time, for although he made public appearances as a
+ virtuoso in his chief cities, and challenged all comers to
+ trials of skill, the importance of his recorded victories is
+ somewhat diminished, by the fact, that his judges were
+ sufficiently wise in their generation, to invariably award
+ him the honour of pre-eminence. It is a prudent judge
+ who recognises a despotic Emperor's artistic--and other--powers.
+
+ With the dawn of Christianity came a new era in
+ the art, and in the 4th century, we find that a School
+ of Singing was established at Rome, for the express
+ purpose of practising and studying Church music. It
+ was not, however, until another couple of centuries had
+ elapsed, that the sound of music based on definite laws
+ was heard beneath an English sky. You have to travel
+ back in mind to that memorable procession of devoted
+ monks, which, under the leadership of the saintly
+ Augustine, wended its way into the little city of Canterbury,
+ singing its Litany of the Church, and startling
+ Pagan Britain with its joyful alleluia. Slowly, very
+ slowly, the art progressed, but four more centuries were
+ to pass before it was established on anything like a true
+ scientific basis, and it is such men as Hucbald, a Flemish
+ monk, Guido D'Arezzo and Franco of Cologne who
+ laid the foundation of our whole system of polyphonic
+ music.
+
+ Before, however, I touch on that broader expanse, the
+ era of the Flemish School, which began to attain noteworthy
+ prominence in the early years of the 15th century,
+ it would be as well, perhaps, to dwell for a few moments
+ on the history of the noble instrument which is the cause
+ of our foregathering here to-day. In a very early chapter
+ in the Book of Genesis we are told that Jubal was "the
+ father of all such as handle the harp and the organ," and
+ therefore he ranks in history as the first teacher of
+ music. It is commonly asserted, that the emoluments
+ of the modern organist do not come well within the
+ designation of "princely," and, judging from the limited
+ population in those Adamite days, we may well assume
+ that Jubal's living was almost as precarious as those worthy
+ Shetland Islanders who depended for their subsistence
+ on washing one another's clothes. With wise forethought,
+ however, Jubal's brother had devoted himself to engineering.
+ "He was the instructor of every artificer in brass and
+ iron," and therefore, we may conclude there was money
+ in the family, and that the man of commerce was generous
+ to the man of music, even as we of to-day are ever
+ ready to respond to the demands for assistance, on behalf
+ of our local choral societies, and musical organisations.
+ But it must not be supposed, that the organ presided over
+ by Jubal bore any resemblance whatever, to the stately
+ instrument, which will now voice its glorious tone within
+ these walls, for the first time in public. The primitive
+ organ of mankind has its present-day affinity in the
+ charming instrument, which, in the hands and mouth of a
+ precocious juvenile, has such a powerful and stimulating
+ effect on the cultivated ears and sensitive nerves of the
+ modern amateur.
+
+ It is not possible for me to go into any detail, with
+ regard to the slow and marvellous development of that
+ triumph of human skill, which is truly known as the king
+ of instruments. From those simple pieces of reed, cut
+ off just below the knot, which formed the pipes of the
+ syrinx, to the complicated, elaborate and perfect machinery
+ which is hidden beneath the organ case there, is the same
+ degree of difference, as there is between the rough-hewn
+ canoe of the savage, and the wonderful perfection of the
+ liners, which run their weekly race across the broad
+ Atlantic. It was not until the end of the 11th century,
+ that the first rude steps were taken towards the formation
+ of the modern keyboard; then it was that huge keys or
+ levers began to be used, and these keys were from 3
+ to 5 inches wide, 1-½ inches thick, and from a foot and
+ a half to a yard in length. Nevertheless, even the
+ organ of the 4th century had its impressive powers, if
+ we may place reliance on words attributed to the
+ Emperor Julian, the Apostate, who wrote: "I see a
+ strange sort of reeds; they must, methinks, have sprung
+ from no earthly, but a brazen soil. Wild are they, nor
+ does the breath of man stir them, but a blast leaping
+ forth from a cavern of ox-hide, passes within, beneath
+ the roots of the polished reeds; while a lordly man, the
+ fingers of whose hands are nimble, stands and touches
+ here and there, the concordant stops of the pipes; and
+ the stops, as they lightly rise and fall, force out the
+ melody."
+
+ And in its growth, as in the growth of young children,
+ the organ has had its share of infantile vicissitudes. Even
+ as late as the 13th century it lay under the ban of
+ the ecclesiastics, and was deemed too profane and scandalous
+ for Church use. Again, in 1644, Parliament issued an
+ ordinance which commanded "that all organs and the
+ frames and cases wherein they stand in all Churches and
+ Chappells aforesaid shall be taken away and utterly defaced,
+ and none other hereafter set up in their places." "At
+ Westminster Abbey," we are told, "the Soldiers broke
+ down the organs and pawned the pipes at several Ale
+ Houses for pots of Ale." It is difficult to understand this
+ opposition to the organ, more especially as David in the
+ last of his psalms enjoined the people "to praise God
+ with stringed instruments and organs." True, indeed, Job,
+ in one of his most pessimistic moods, placed it on record
+ that "the wicked rejoice at the sound of the organ," but
+ evidently Job had no soul for music--was so unmusical,
+ in fact, that he is worthy to be associated with a certain
+ eminent divine of the English Church, whose musical
+ instinct was so deficient that he only knew "God Save the
+ Queen" was being sung by the people rising and doffing
+ their hats.
+
+ Before touching upon that scientific development of
+ the art, which, broadly speaking, began with the advent
+ of the Flemish School and reached its culminating point
+ within the rounded walls of Bayreuth, we may well give
+ a moment's consideration to those melodies, which travelled
+ their unwritten way through the early Middle Ages, and
+ which we know, by the few examples that have come down
+ to us, to have been racy of the soil that gave them birth;
+ the folk song of the country is more characteristic of its
+ people, of their temperament and psychology, than any
+ other attribute of their national existence. We, in England,
+ have little enough to point to in this way; in a sense
+ there is nothing peculiarly individual in our music as a
+ whole. But with the old melodies of Ireland, that ever
+ seem to tremble between a tear and a smile, and in the
+ quaint pathos of Scotland's airs, and the well-defined
+ beauty of typical Welsh songs, we recognise the true
+ speech of the heart and the outpouring of the natural man.
+ Germany is still richer in its folk music, and the Pole
+ and the Russian, the Hungarian and the Gaul, can each
+ point to a mine of original melody which has provided
+ latter-day composers with the basis of their most beautiful
+ works. Nor must the importance of the Troubadours
+ and Minnesingers be overlooked in reference to this
+ interesting phase of musical art. They it was who kept
+ alive and spread abroad the traditional songs of the people,
+ and by their accomplishment actually worked as an
+ educational force on the people themselves. Readers of
+ Chaucer will bear in mind many an allusion to the minstrel's
+ art of his period, and well through the Norman and
+ Plantaganet epochs.
+
+ "With minstrelsy the rafters sung,
+ Of harps, that from reflected light
+ From the proud gallery glittered bright
+ To crown the banquet's solemn close,
+ Themes of British glory rose;
+ And to the strings of various chimes
+ Attemper'd the heroic rhymes."
+
+To the Flemish, or Netherland School of music we owe an art system, that
+exercised a potent influence on every form of composition, and
+counterpoint was the especial study of its followers, until, as
+invariably happens, technical skill was regarded with a greater degree
+of favour than genuine inspiration. But the School unquestionably
+produced a vast number of very fine masses, motets, and much fine
+service music. Then from Belgium the musical spirit travelled to Italy,
+and before the 16th century had fulfilled half its appointed course, the
+powers of Palestrina had indelibly stamped Italian art, and his genius
+had elevated the ecclesiastical music of the age, to the lofty standard
+of its associations. Then such musicians came to mind as Monteverdi and
+Carissimi, the latter of whom made clear the path, for those great
+writers of oratorio, whose names we hold in such reverence, and whose
+works we love with such unwavering devotion.
+
+German art was late in the field, and correspondingly slow in the
+earlier stages of its development; thus we owe it little as a pioneer
+in the art. But when the Teuton burst upon the world in all his
+greatness, he first came in the colossal personality of John Sebastian
+Bach, and then followed Haydn, Mozart and Beethoven, to be succeeded by
+others, who were well qualified to take unto themselves the mantles of
+their predecessors. Perhaps, however, I have done early German art some
+injustice, for it must not be forgotten, that to the era of the great
+Reformation, we owe those Lutheran chorales, such as the famous _Ein'
+feste Burg_, which were as effective in stirring and encouraging the
+rank and file of the reformers, as were the thrilling words of Luther,
+and his earnest and enthusiastic fellow-workers. And it was due to the
+custom of accompanying these chorales, that Germany owned, before the
+end of the 17th century, the finest school of organists in Europe.
+
+English music has always leaned more towards the sacred, than the
+secular side of the art. The names of Marbecke, Thomas Tallis, Byrd,
+Farrant, Gibbons, Lawes, Blow and Purcell are known to every choir-boy
+and village chorister. Their anthems and chants are part and parcel of
+the musical programme of every parish church, and the fine example, set
+by these Elizabethan and Stuart writers has been well followed, by
+Croft, Weldon, Boyce, and nearer, and belonging to our own times,
+Wesley, Goss and Sullivan. And it is the sacred in music, which to-day
+makes the strongest appeal to the heart of the English nation. In the
+congregational singing in churches, in the overwhelming attention which
+an English audience will bestow on such an oratorio as the _Messiah_, we
+realise that a chord is struck, which vibrates through the whole of our
+being, which lifts us into a state of semi-exultation, and moves us like
+the words of some great statesman. I will not discuss the question, of
+whether a drama or an opera has most power over its audience, but I will
+fearlessly affirm, that apart from the drama there is no art that has
+the same soul-stirring influence, as the art of music. The simple
+harmonies of our Anglican hymns suffice for the untaught peasant, and
+the broad sweep of a Handelian chorus holds captive musical amateurism.
+But there is a music that reaches to higher heights, embraces within its
+sphere a wider domain, and goes deep down into the mysteries of
+nature--into the abysses of the soul; but such music is an open book
+only for the musical student. It lives. It exists. It swells through the
+length and breadth of the land; and year by year its influence
+increases, its power becomes more dominant, and its glowing beauties
+more vividly appreciated. People are beginning to comprehend the
+wondrous message, sent to us by such composers as Ludwig Beethoven, and
+Richard Wagner. They are beginning to understand the voice of that most
+marvellous of all instruments--more marvellous than the organ itself,
+for its keyboard is human brains, and its stops are human hands. I mean
+the modern orchestra. The world's finest music has been written for that
+instrument; the divinest melodies have been given it to interpret, and
+the most significant factor in the English art life of the present is
+the growing enthusiasm with which music, in its highest and most
+abstract form and beauty, is listened to, by those who, in political
+phraseology, are summed up in that terse and comprehensive expression
+"The Masses."
+
+I look with much greater confidence to music, than I do to Parliament,
+for the means of preventing crime and intemperance--indeed, as one of
+the most permanent cures of all vice and discontent. Much has been done
+in later years by local authorities, towards enabling the public to have
+within easy and reasonable reach such music as can be provided by bands
+and local orchestra. But this is only the beginning. I trust the day may
+not be far distant, when local authorities will see their way to
+providing at cheap prices the best of operas, as is done so largely on
+the Continent of Europe. We rightly and wisely provide libraries,
+technical schools, and many other forms of instructive recreation, but
+why are we in England to lag behind other countries in providing that
+most instructive form of entertainment--namely, opera. I have never
+known a true lover of music who was not a good citizen. And what a
+preventive against idleness, the cause of so much crime. Once produce
+opera at a price which all can afford to pay to hear, and can anyone
+doubt, that many a man and woman will choose it, in preference to an
+evening in a public-house or a music-hall. I never remember listening to
+an opera, however poor or badly performed, that I have not gained some
+strength with which to continue the desperate struggle of the battle of
+life--which is very much more than I can say, for instance, for speeches
+in the House of Commons. He who loves music has a servant at his command
+which will ever render him willing and delightful service; he who loves
+music brings himself into subjection, to one of the most elevating and
+purifying influences of civilisation, and he who loves music and will
+practise it, becomes a valuable and agreeable factor in the social life
+of the community. There are no selfish restrictions in music. The
+painter must keep himself to his canvas, and the actor to his stage, but
+singers and instrumentalists have a standing in the humble parlours of
+the poor, and in the luxuriously-upholstered drawing-rooms of the rich;
+they have a coign of vantage in the choir stalls of churches and on the
+platforms of concert halls. Music offers her favours alike to the modest
+reader of the Tonic Sol-fa Notation, and to the pianist who can master
+the difficulties of the Beethoven Sonatas. The chorus singer enjoys the
+same measure of gratification as the leading soloist, and the student
+with his score in his hand is just as great a king as the conductor.
+
+In speaking briefly on such a vast and interesting subject, one must
+necessarily leave volumes unsaid that ought to be said. I have but
+casually touched on the beginnings of musical art, and the utmost I can
+hope for is that I have succeeded in arousing some degree of curiosity
+in the minds of those, who have shown but little regard for musical
+literature, and which will have the effect of ultimately leading them to
+devote more of their time and attention to good musical performances.
+
+
+_Colston & Coy. Limited, Printers, Edinburgh._
+
+
+
+
+    +-----------------------------------------------+
+    |             Transcriber's Note:               |
+    |                                               |
+    | Typographical errors corrected in the text:   |
+    |                                               |
+    | Page  9  Manteverde changed to Monteverdi     |
+    | Page 14  snnshine changed to sunshine         |
+    | Page 31  threatre changed to theatre          |
+    | Page 45  Othello ochanged to Otello           |
+    | Page 75  genuis changed to genius             |
+    | Page 75  Monteverde changed to Monteverdi     |
+    +-----------------------------------------------+
+
+
+
+
+
+End of Project Gutenberg's The Operatic Problem, by William Johnson Galloway
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+Project Gutenberg's The Operatic Problem, by William Johnson Galloway
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Operatic Problem
+
+Author: William Johnson Galloway
+
+Release Date: November 12, 2010 [EBook #34302]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE OPERATIC PROBLEM ***
+
+
+
+
+Produced by Barbara Kosker and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
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+</pre>
+
+
+<br />
+<br />
+<br />
+<br />
+
+<div class="tr">
+<p class="cen">Transcriber's Note</p>
+<br />
+The book does not contain a Table of Contents.
+One is provided for the convenience of the reader.
+</div>
+
+<br />
+<br />
+<br />
+<br />
+
+<h1> THE OPERATIC PROBLEM</h1>
+
+<br />
+<br />
+<br />
+<br />
+
+<h4> By</h4>
+
+<h2> W. JOHNSON GALLOWAY, M.P.</h2>
+
+<br />
+<br />
+<br />
+<br />
+
+<div class="img">
+<img border="0" src="images/deco.jpg" width="10%" alt="Publisher's Mark" />
+</div>
+
+<br />
+<br />
+<br />
+<br />
+
+<h4> London<br />
+ John Long<br />
+ 6 Chandos Street, Strand<br />
+ 1902</h4>
+
+<br />
+<br />
+<br />
+<br />
+
+<h2>Contents</h2>
+
+<div class="centered">
+<table border="0" width="60%" cellpadding="2" cellspacing="0" summary="Contents">
+  <tr>
+  <td class="tdl" width="85%">The Operatic Problem</td>
+  <td class="tdr" width="15%"><a href="#Page_7">7</a></td>
+  </tr>
+  <tr>
+  <td class="tdl">Italy</td>
+  <td class="tdr"><a href="#Page_19">19</a></td>
+  </tr>
+  <tr>
+  <td class="tdl">Germany</td>
+  <td class="tdr"><a href="#Page_27">27</a></td>
+  </tr>
+  <tr>
+  <td class="tdl">France</td>
+  <td class="tdr"><a href="#Page_35">35</a></td>
+  </tr>
+  <tr>
+  <td class="tdl">The English National Opera House</td>
+  <td class="tdr"><a href="#Page_47">47</a></td>
+  </tr>
+  <tr>
+  <td class="tdl">Opera for the People</td>
+  <td class="tdr"><a href="#Page_66">66</a></td>
+  </tr>
+</table>
+</div>
+
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span>
+<br />
+
+<hr />
+<br />
+<h2>Preface</h2>
+
+
+<p>Last autumn, having to speak at an organ recital given by my friend Mr
+Clegg, I took the opportunity of giving what encouragement lay in my
+power, to the Corporation of my native town, in an endeavour they had
+made during the summer months to provide suitable music in the various
+parks throughout the city. To my great surprise that speech was quoted
+in journals, of all shades of opinion, in the country, and brought me
+also a vast correspondence.</p>
+
+<p>A copy of the speech will be found at the end of this book.</p>
+
+<p>As I have long desired that Opera should be placed within the reach of
+those, whose purses are not able to bear the strain of the high prices
+charged in England, and having some leisure before Parliament met this
+year, I made inquiries regarding the various systems of running Opera on
+the Continent of Europe. I obtained a vast mass of most interesting
+information. How to make the best use of that information was my<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+difficulty. It was much too bulky to compress into the narrow limits of
+a magazine article, and besides, much of it had no peculiar interest for
+us in this country.</p>
+
+<p>My chief desire was to put it before the public in a form that would
+arouse interest in the subject. Also, I realised that this information,
+however valuable, was like the desert, in its unwieldy form, and without
+any attempt to outline the conclusion to which it led. So after much
+trepidation of thought I determined to run the gauntlet and march right
+up to the cannon's mouth with a scheme of my own for the establishment
+of a system for National Opera in this country.</p>
+
+<p>This little book is the result of my efforts, and though I do not
+pretend that it offers a complete solution of the question, still less
+that it gives a <i>coup de gr&acirc;ce</i> to the schemes of those who have trodden
+the same path before me, I do hope it may help to call into existence
+some plan for the foundation of Opera upon a popular basis.</p>
+
+<p>To my critics&mdash;and many I shall have&mdash;I venture to say that, however
+much they disagree, they should remember I lay no claim to completeness,
+and I will gladly welcome any suggestions thrown out with a real desire
+to perfect my very imperfect ideas.</p>
+
+<p>But there are two forms of criticism I wish to meet in advance.</p>
+
+<p>The first is the criticism of those, who will say it is useless hoping<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+to get public money for a luxury, whilst the nation is engaged in a
+costly war. I frankly and freely admit the force of such criticism, but
+I would urge in reply that a proposal like mine has far to travel,
+before it takes its final shape, and one cannot hope to get Parliament
+to take the matter up until the subject has been fully ventilated in the
+country. And although at such a time our first thoughts should be given
+to those who are fighting our battles in the field, surely no harm, and
+possibly much good, may come from considering how we can deal with the
+social problems which confront us.</p>
+
+<p>The second form of criticism is perhaps more easily met, namely, the
+criticism of those who look upon all theatres and opera houses as
+vicious and <i>contra bonos mores</i>. This battle was fought by Moli&egrave;re in
+the seventeenth century. Prescott, in his delightful essay on Moli&egrave;re,
+tells us what difficulties that author had to face at the beginning of
+his career on these very grounds. The clergy, alarmed at the then
+rapidly-increasing taste for dramatic exhibitions, openly denounced the
+theatre as an insult to the Deity, and Moli&egrave;re's father anticipated in
+the calling his son had chosen no less his spiritual than his temporal
+perdition. Yet who is there to-day who will deny that Moli&egrave;re helped to
+correct the follies of his age, by exposing them to ridicule? And if in
+providing National Opera for the people, we can assist in the higher
+education of the community, we may well ask those who object on the<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>
+grounds I have named, to remember that "there is no felicity upon earth
+which carries not its counterpoise of misfortunes," and that the evils
+they fear are not inherent only to the stage, but also exist in almost
+every other walk of life.</p>
+
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+<br />
+
+<div class="img">
+<img border="0" src="images/deco2.jpg" width="75%" alt="title decoration" />
+</div>
+
+<br />
+<br />
+<br />
+<br />
+<h2>The Operatic Problem</h2>
+<br />
+
+<p>Opera has, since its origin, been considered the highest form of
+theatrical pastime. The very appellation "opera" indicates that in the
+land of its birth it was looked upon as the "work" <i>par excellence</i>, and
+to this day it is the form of Art which is invariably honoured by
+exalted patronage, and one that people pay the most to enjoy. It is
+hardly necessary to advance documentary evidence in support of this
+assertion; moreover, it is beyond the scope of this book to marshal all
+the historical facts. My chief consideration will be to deal with the
+prospect of National Opera in England, and to take the existing state of
+things as the basis for future action. But some retrospect showing that
+the originators of opera understood its importance, and knew admirably
+how to define its scope, may prove interesting.</p>
+
+<p>The following extract from the preface to Vitali's <span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span><i>Aretusa</i>, the score
+of which is in the Barberini Library, performed in Rome on the 8th of
+February 1620, is worth quoting in corroboration of the statement:&mdash;</p>
+
+<p>"This style of work (opera) is a new style, born a few years ago at
+Florence, of the noble intelligence of Messer Ottavio Rinuccini, who,
+dearly beloved by the Muses and gifted with especial talent for the
+expression of passions, would have it that the power of music allied to
+poetry, tended rather to gather fresh strength from the combination,
+than to suffer diminution in consequence. He spoke of it to Signor
+Jacopo Corsi, M&aelig;cenas of every merit and most enlightened amateur of
+music, proving that the mission of music united to poetry should be not
+to smother words with noises, but to help those words to a more eloquent
+expression of passion. Signor Corsi sent for Signor Jacopo Perri and
+Signor Giulio Caccini, eminent professors of singing and counterpoint,
+and after having discussed the subject, they came to the conclusion that
+they had found the means for reaching the desired goal. Nor were they
+mistaken. It is in this new musical style, the fable of Dafne to the
+poem of Signor Ottavio Rinuccini, was composed and performed in Florence
+at Signor Jacopo Corsi's, in the presence of the illustrious Cardinal
+del Monte, a Montalto, and their most serene Highnesses the Grand Duke
+and Grand Duchess of Tuscany. The work pleased them so much <span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>that they
+were absolutely bewildered (<i>attonitidi stupore</i>). This style of music
+acquired a still greater number of fresh beauties in <i>Euridice</i>, a work
+by the same authors, and then in <i>Ariadne</i>, by Signor Claudio
+Monteverdi, to-day <i>Maestro di Capella at Venice</i>."</p>
+
+<p>Your modern theorist could hardly express his operatic creed with
+greater felicity than the Florentine noble, Ottavio Rinuccini, and the
+whole quotation breathes in its quaint phraseology, the spirit of love
+for all that is new and beautiful in Art, which gave Italy her hegemony
+amongst other nations.</p>
+
+<p>The operatic spectacle, when first imported into France, was a Court
+entertainment for the privileged few, but it soon tempted private
+enterprise, and here, again, its importance, as an attraction, was not
+underrated, for the first <i>impressario</i>, one Pierre Perrin, took good
+care to obtain a monopoly for the new style of performances, whilst the
+royal <i>privil&egrave;ge</i> (letters-patent), granted to him, sets out their
+advantages in unmistakable terms.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<p><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>Therein "Louis par la grace de Dieu," etc., concedes to his "ame et feal
+Pierre Perrin" the exclusive rights of operatic performances throughout
+France, not only that they should contribute to his own recreation, or
+that of the public in general, but chiefly in the hope that his
+subjects, "getting accustomed to the taste of music, would be led all
+but unconsciously to perfect themselves in this the most noble of
+liberal arts." (Que nos sujets s'accoustumant au goust de la musique, se
+porteroient insensiblement a se perfectionner en cet art, l'un des plus
+nobles de liberaux.) These Royal letters-patent were dated 1669,
+demonstrating that two hundred and thirty-two years ago France
+recognised the educational mission of the art of music, and its
+accessibility by the means of opera.</p>
+
+<p>The taste for this new entertainment grew and spread throughout Europe,
+and it is a matter of common knowledge that everywhere the encouragement
+and support came from the highest quarters, always having for its object
+the benefit of the masses.</p>
+
+<p><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>Thus Italy, France, Germany, Austria, Spain, Russia, Sweden, Norway,
+Denmark, Greece have their endowed or subsidised theatres; they can
+boast of an artistic musical past and operatic tradition, and make a
+proud show of creative and interpreting talent for over two centuries.
+It is equally well known that the patronage thus accorded, always took
+the form of a monetary subsidy granted either by a Sovereign or by a
+municipality&mdash;at times for a period of years, at others for a specified
+occasion, sometimes unconditionally, sometimes under certain
+restrictions, now limited to a given figure, then giving the manager
+<i>carte blanche</i>. The solicitude and favour shown by the State went at
+times the length of taking a direct interest in the management of an
+opera house, as was the case for a certain period in France.</p>
+
+<p>England alone in civilised Europe remained indifferent, and took no
+active part either in fostering or patronising the new form of art; and
+whilst the spirit of emulation was animating other states and nations
+towards helping native production, England was satisfied to import
+spectacles and performers from abroad, just as she would have imported
+any other commodity. True enough, only the best article was brought
+over, and the best price paid in the highest market. If one could reckon
+up the money thus spent on foreign operatic performances within the last
+hundred years, <span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>the figures would prove instructive&mdash;instructive, that
+is, of England's foolhardiness in alienating so much national cash,
+without any benefit to the nation, and to the direct detriment of native
+talent. For over a century this country has been the happy
+dumping-ground of Italian opera and Italian singers and dancers; for
+there was a time when a ballet and a <i>prima ballerina</i> were of paramount
+importance in an operatic season. Within late years French, Belgian,
+German, American, Polish and even Dutch singers have found their
+El-Dorado in England. Composers of all nations have found hospitality
+and profit. Foreign conductors, <i>virtuosi</i>, teachers and chorus-singers
+have taken up a permanent abode here, and things have come to such a
+pass that one may well wonder whether there is any room at all for an
+Englishman, and whether the time has not arrived for a voice to be
+raised on behalf of native artists and native art.</p>
+
+<p>It is not as though native opera had failed to show signs of life. Our
+failure to create a body of art comparable with that of Germany, Italy
+and France has sometimes been attributed to inherent lack of the
+dramatic instinct in music, but that view is contradicted by the
+historical facts. From the time of Purcell, whose operatic genius is
+beyond question, neither the impulse to write on the part of musicians
+nor the capacity to appreciate on the part of the public <span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>has been
+lacking. We find throughout the eighteenth and nineteenth centuries,
+breaking through the stifling influence of exotic art, an irrepressible
+tendency towards the creation of a purely native form of opera. Again
+and again English or British composers returned to the task with
+significant, if temporary, success. The list is surprisingly large and
+almost continuous down to the present day. It includes many forms of
+art, some of which have no pretension to a high standard, but the one
+thing common to them all is the yearning towards some sort of musical
+drama which they exhibit. This is seen in nothing more plainly than in
+the "ballad operas" of the eighteenth century, which were inaugurated by
+the immensely popular <i>Beggar's Opera</i> in 1728, only some thirty years
+after Purcell's flourishing period. A string of ballads took the public
+by storm when thrown into a dramatic setting. Arne's ambitious project
+of building up in the middle of the century an English operatic school
+to rival the Italians in their own domain indicates an instructive
+confidence in the forces of his day. It failed not so much from lack of
+support as from active opposition on the part of those undying enemies
+of the unaccustomed, who play the game of follow-my-leader like a flock
+of sheep. They did it then. They do it now.</p>
+
+<p>This failure did not deter Arne's successors from freely following their
+own operatic bent, in the earlier and less <span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>ambitious style. The
+agreeable and distinctive national talent of Dibdin, Arnold, Linley,
+Shield, Horace, Hook, Braham and many others found expression in a host
+of musically set plays, which hugely delighted the public. English
+musicians received encouragement and responded to it. The 1809 English
+Opera House produced a quantity of works, and at the same time Drury
+Lane and Covent Garden offered a field of activity to Bishop, who was a
+born operatic composer of charming and original gifts. To this period
+belongs Balfe, who may be said to mark its culmination. The <i>Siege of
+Rochelle</i>, his first opera, was brought out at Drury Lane in 1835, and
+the <i>Bohemian Girl</i>, his most successful one, in 1843 at the same
+theatre. This opera has been before the public for nearly sixty years,
+and is still enjoying the undiminished favour of popular audiences.
+Wallace's <i>Maritana</i>, which belongs to the same period, is also very
+much alive to this day. Barnett's <i>Mountain Sylph</i> (1834) and Loder's
+<i>Night Dancers</i> (1846) met with as much success and lasted as long as
+four out of five contemporary Italian works, and they were only amongst
+the most prominent of a number of native operas, called forth in this
+period of sunshine and received with appreciation.</p>
+
+<p>This period passed away, and has not been renewed. The promise held out
+by Carl Rosa, an <i>impressario</i> of <span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>enlightenment and enterprise, almost
+amounting to genius, was baulked by his premature death, and the
+patriotic effort embodied, in the theatre which is now the Palace Music
+Hall ended in worse than failure. That well-meant but disastrous venture
+was the heaviest blow that English opera has ever received, for it cast
+the shadow of hopelessness over the whole enterprise in the eyes of the
+public in general and the theatrical and musical world in particular.
+Naturally perhaps, but most unjustly.</p>
+
+<p>For the general disappointment and disillusion attending the failure of
+<i>Ivanhoe</i> the critics were largely to blame in holding out expectations
+which could not be realised; the thing was doomed to eventual collapse
+from the outset. It started, it is true, with an unparalleled
+advertisement and amid universal good wishes; it commanded popular and
+fashionable patronage alike, and every adventitious attraction was
+provided with a lavish hand. But it lacked the essential elements of
+real success, and had to fight against insuperable difficulties. In the
+first place, the stage was far too small for grand opera, which moves in
+a large way, requiring large spaces. The principal characters must stand
+out clear, with abundant room for movement and gesture on a heroic
+scale. If they are huddled or crowded up against the chorus&mdash;which also
+requires ample space&mdash;the action is confused and leaves an impression of
+futility. The effect is gone. This might <span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>not altogether prevent
+enjoyment of a familiar work by audiences accustomed to small theatres,
+but it ruins the chances of a new piece conceived on a larger scale, and
+presented in London to playgoers accustomed to more adequate boards. The
+stage at the ambitious New Opera House was so small, and the
+foreshortening so excessive in consequence, that in the opening scene of
+<i>Ivanhoe</i> Cedric and his guests actually sat at meat in Rotherwood Hall
+with their knees above the table, producing a ludicrous effect. And yet
+the piece was projected on the most pompous scale, with tournament,
+siege, fire, solemn trial, battle, murder and sudden death&mdash;in short,
+all the details that require the most ample spaces. The reporters were
+told, of course, that the stage was the largest in Europe, and they may
+possibly have believed it. At any rate, they told the public so. They
+ought to have known that <i>Ivanhoe</i> had no chance so cramped and huddled
+together.</p>
+
+<p>The second obstacle was the counterpart of an inadequate stage&mdash;to wit,
+an overloaded book. There were too many principal characters. They
+cluttered up the stage, got in each other's way and distracted attention
+from the main action. A skilful novelist can dispose of a great many
+characters in one story; a skilful dramatist can put fewer but still a
+good many into one play, because they are able to explain themselves
+quickly and by-play is admissible. In <span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>grand opera it is otherwise. The
+characters move on a higher emotional plane; they express themselves in
+prolonged phrases and accents enlarged beyond the manner of speech,
+consequently they require more time and space. It must all be simple,
+large and clear. There must be no distraction of interest; to have
+several persons of equal importance is fatal. No musician could have
+made a successful opera of such a book as <i>Ivanhoe</i>. The talent, skill
+and experience of Sullivan did not fail to produce some agreeable
+numbers, but they failed most egregiously to make grand opera. A
+perpetual sense of disappointment pervaded the piece; it never rose to
+the height demanded by the situation, save when that was comic, and
+occasionally the failure was absolutely painful. The music kept trying
+to soar, but was all the time chained by the leg. The reason is obvious.
+You cannot serve two masters, nor can a man who has devoted a life to
+light musical composition, suddenly command the powers which can only be
+won by toil, and tribulation, and faithful devotion to a high ideal. To
+crown this fabric of shortcomings, the management committed the folly of
+running <i>Ivanhoe</i> every night. No masterpiece could have stood a test of
+this kind. And it was thus, with this single unfortunate specimen, that
+English opera was to be established. Let no one be cast down by this
+failure. We may rather point to the attempt, to the widespread interest,
+<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>and to the eager if ill-founded hopes that accompanied it, as signs of
+vitality. They indicate the existence of a demand, while the recurrent
+efforts of recent, and of still living composers&mdash;of Goring, Thomas,
+Corder, Stanford, Cowen, Mackenzie, M'Cunn and De Lara&mdash;prove that the
+dramatic instinct has not departed from British composers, and that it
+is not hopeless to look for a supply in answer to the demand. The seed
+only needs systematic encouragement, and intelligent cultivation to bear
+fruit. I firmly believe that the time is ripe for such encouragement to
+come from an official sphere; in other words, I advocate State
+intervention in the matter, and the establishment of a subsidised
+national opera house on the lines successfully adopted in other
+countries. And that we may profit by the experience of others, let us
+examine how continental nations fare under the &aelig;gis of State-aided Art.</p>
+
+<p>Italy, Germany and France present the most characteristic instances, and
+I will take a bird's-eye view of the operatic machinery in them,
+beginning with Italy.</p>
+
+<h4>FOOTNOTE:</h4>
+
+<div class="footnote"><p class="noin"><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Here is an extract of this <i>privil&egrave;ge</i>:&mdash;"Nous avons au dit
+Perrin, accord&eacute; et octroy&eacute;, accordans et octroyons par les pr&eacute;sentes
+sign&eacute;es de notre main la permission d'etablir en notre bonne ville de
+Paris et autres de nostrec Royaume, des Acad&eacute;mies compos&eacute;es de tel
+nombre et qualit&eacute; de personnes qu'il avisera, pour y repr&eacute;senter et
+chanter en public des op&eacute;ra et repr&eacute;sentations en musique et en vers
+fran&ccedil;ais, pareilles et semblables &agrave; celles d'Italie. Et pour d&eacute;dommager
+l'Exposant, des grands frais du'il conviendra faire pour les dites
+Repr&eacute;sentations, tant pour les Th&eacute;atres, Machines, D&eacute;corations, Habits
+qu'autres choses n&eacute;cessaires; nous luy permettons de prendre du public
+telles sommes qu'il avisera et &agrave; cette fin d'etablir des gardes et
+autres gens n&eacute;cessaires &agrave; la porte des lieux o&ugrave; se feront les dites
+Repr&eacute;sentations; Faisant tr&egrave;s expresses inhibitions et d&eacute;fences &agrave; toutes
+personnes de quelque qualit&eacute; et condition qu'elles soient, <i>mesme aux
+officiers de nostre Maison d'y entrer sans payer, et de faire chanter de
+pareils op&eacute;ra ou Repr&eacute;sentations en musique et en vers fran&ccedil;ais</i> dans
+toute l'entendue de nostre Royaume pendant douze ann&eacute;es sans le
+consentement et permission du dit exposant, &agrave; peine de dix huit mil
+livres d'amende," etc., etc.</p></div>
+
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+<br />
+
+<hr />
+<br />
+<h2>Italy</h2>
+<br />
+
+<p>There are about five hundred theatres in Italy, and quite one half of
+these have seasons of opera at various times of the year. The
+traditional Italian operatic season begins on the 26th December of each
+year at San Stefano Day, and is called the Carnival Season; then follows
+Quaresima or Lent Season and Primavera or Spring Season&mdash;altogether some
+five months of opera. Besides these there exist (<i>stagioni di fiere</i>)
+short seasons of one or two weeks' duration, at the time of certain
+famous fairs. There are autumn seasons, and sporadic performances at
+fashionable summer and bathing resorts. I am quite within strict
+probability in asserting that in Italy two hundred odd theatres are
+devoted to opera the whole year round. These theatres may be briefly
+divided into two classes&mdash;municipal and private ones. The latter are run
+very much on the same lines as private theatres anywhere else, and do
+not come within the scope of my consideration.</p>
+
+<p>The State does not interfere in any way with Italian theatres, and such
+help as these receive comes either from <span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>municipalities, or especially
+formed associations of institutions linked by common interest with the
+working of a theatre. But the principle of such help is always that of
+an act performed for the public good, or, as it is officially termed,
+<i>per ragioni di pubblica utilita</i>, and it naturally takes the form of a
+monetary subsidy. This su&eacute;sidy varies according to the importance of the
+theatre, the rank of the city, the prospects of the season, and its
+grant is altogether opportunistic and at times arbitrary. In the
+majority of Italian theatres boxes are proprietary, and the
+<i>palchettisti</i> (box-holders) have a direct interest and a vote of some
+weight in the prospective arrangements of a season. The <i>impressario</i>
+desirous of running an operatic theatre must submit his prospectus to
+the box-holders at the same time he submits it to the municipality from
+which he wishes to obtain his contract, and of course, his subsidy. A
+theatrical board (<i>Commissione Teatrale</i>), composed of local
+authorities, and box-holders examines the prospectus, and if the
+decision is unfavourable another plan has to be submitted by the same
+man, or another aspirant, or perhaps the <i>Commissione</i> has a scheme of
+its own. As a rule, stipulations comprise either a novelty or a
+favourite opera, called in this case "obligatory" (<i>opera d'obbligo</i>), a
+ballet, or simply a specified number of performances. The length of the
+season varies from eight days (<i>stagione di fiera</i>) to two months, the
+repertory may <span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>consist of one opera or twenty, whilst the figure of the
+subsidy is anything between &pound;20 and &pound;8000. The average, however, is
+three operas for a medium season of one month&mdash;one obligatory, one <i>di
+repiego</i> (for a change) and another, <i>da de Stinarsi</i> (to be selected),
+at the choice of the <i>impressario</i> or in accord with the <i>Commissione</i>.
+Five performances weekly are the orthodox number, Mondays and Fridays
+being recognised as days of rest.</p>
+
+<p>If an agreement is arrived at, the <i>impressario</i> is put in possession of
+the theatre for the period stipulated, and sets about running his
+season. He is given but the bare building and seats; he has to provide
+scenery, costumes, orchestra and chorus in addition to his company of
+artists. Sometimes orchestra and chorus are local institutions, and
+there are small places in which the conductor is an <i>employ&eacute;</i> of the
+municipality engaged for a period of years to play the organ in church,
+teach music at schools, conduct open-air concerts and also the operatic
+season. In such a case a part of the subsidy, equivalent to all the
+salaries, is retained to guard against accidents, or else a sum is set
+apart for that purpose out of a deposit lodged by the <i>impressario</i> with
+the <i>Commissione</i> or the municipality.</p>
+
+<p>The budget of the manager depends on the subsidy and the subscription,
+in which box-holders must perforce participate owing to the system of
+<i>ingresso</i> or entrance ticket&mdash;a <span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span>system which consists in charging so
+much (a uniform price, as a rule) for entrance in addition to the price
+of your ticket. <i>Ingresso</i> simply gives you the right to standing room,
+or you may join some friends in a box of theirs; and this method has
+been devised in view of the <i>palchettisti</i>, whose boxes would otherwise
+prove a profitless asset. The <i>palchettisti</i> subscribe to the
+<i>ingresso</i>, and the general public to seats and <i>ingresso</i> combined. But
+the <i>impressario</i> does not get his subscription until he has given
+one-half of the stipulated performances. There is a further perquisite,
+called <i>adobbo</i>, in some southern Italian theatres&mdash;the Naples San
+Carlo, for instance&mdash;which brings in a goodish sum of money, and
+consists in charging two francs for attendance in every box. Judging
+from the name <i>adobbo</i>, it must be a relic of a time when attendance
+comprised some kind of "fixing" you up in your box. It is nothing of the
+sort to-day, and I am unable to explain why, after having paid for your
+box and <i>ingresso</i>, you are charged for the <i>adobbo</i>, which seems to me
+first cousin to the obnoxious <i>petit banc</i> in French theatres. Besides
+these two elements, subvention and subscription, the <i>impressario</i> has
+also the resource of raising the prices of seats, and entrance tickets
+how, and when, he pleases during the season, the fluctuation affecting,
+however, non-subscribers only. As a rule, the opening night of the
+season, and the production of a novelty are generally singled out for
+the adoption of this <span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>device; but, naturally enough, your manager has
+recourse to the measure, whenever an opera of his proves a sure draw,
+and results, just as much as customs, are there to justify the
+expedient. Should, however, the public fail to respond, the prices are
+lowered with the same alacrity with which they were raised. Thus you may
+have to pay &pound;4 for your stall, say, at La Scala, day after day, or you
+may see on Wednesday for 5 francs (4s.) a performance you would have had
+to pay 100 francs (&pound;4) for had you bought your ticket on Monday.</p>
+
+<p>This principle pervades the uses and customs of the Italian theatrical
+world, and is applicable to the letting of scores by publishers, who,
+untrammelled by such institutions as the Soci&eacute;t&eacute; des Auteurs in France,
+or special laws as in Spain, can charge what they please for the hire of
+band parts and scores. There is nothing to prevent the publisher of
+<i>Lucia di Lammermoor</i> from letting the music of the opera for 50 francs
+(&pound;2) to an <i>impressario</i> at Vigevano and charging 20,000 francs (&pound;800)
+to another who produces it, say, at the Argentina of Rome, with Melba in
+the title-r&ocirc;le.</p>
+
+<p>The music publisher in Italy has a unique position amongst publishers,
+but quite apart from this, he enjoys so many prerogatives as to be
+almost master of the operatic situation in that country. He can put what
+<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>value he pleases on the letting of the score he owns, and has the
+absolute right over the heads of the Theatrical Board to reject artists
+already engaged, including the conductor. He can take exception to
+costumes and scenery and withdraw his score as late as the dress
+rehearsal.</p>
+
+<p>This is called the right of <i>protesta</i>. It does not follow that such
+right is exercised indiscriminately, spitefully or frequently, but it is
+sufficient that it exists, and what between the <i>Commissione Teatrale</i>,
+the <i>palchettisti</i> and the publisher, the <i>impressario</i> in Italy is not
+precisely on a bed of roses. Still, in spite of such impedimenta,
+Italian opera flourished for well-nigh two centuries, and Italian
+singers, repertory and language were considered all but synonymous with
+every operatic enterprise, during that period. This ascendency lasted as
+long as proper incentives for development of the art were steadily
+provided by responsible bodies; in other words, so long as the great
+theatres of Italy&mdash;La Scala at Milan, San Carlo at Naples, Communale at
+Bologna, Apollo at Rome, Fenice at Venice, Carlo Felice at Genoa, Raggio
+[transcriber: Regio?] at Turin, Pergola at Florence, etc.&mdash;were in
+receipt of regular subventions. But political and economical changes in
+the country turned the attention of public bodies towards other
+channels, and the radical tendencies of most municipalities went dead
+against the artistic interests of <span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>the country. In spite of warnings
+from most authoritative quarters, the opposition, towards subsidising
+what was wrongly considered the plaything of the aristocracy grew apace,
+and the cry became common that if dukes and counts, and other nobles
+wanted their opera, they should pay for it. Subsidies were withdrawn
+here, suspended there, cut short in another place, and altogether
+municipal administration of theatres entered upon a period the activity
+of which I have already qualified, as opportunistic and arbitrary. In
+vain did a great statesman, Camillo Cavour, argue the necessity of
+maintaining at all costs, the time-honoured encouragement, and help to
+pioneers of the Italian opera, bringing the discussion to an absolutely
+practical, if not downright commercial, level. "I do not understand a
+note of music," said he, "and could not distinguish between a drum and a
+violin, but I understand very well that for the Italian nation, the art
+of music is not only a source of glory, but also the primary cause of an
+enormous commerce, which has ramifications in the whole world. I believe
+therefore that it is the duty of the Government to help so important an
+industry." The municipalities remained obdurate, and the start of their
+short-sighted policy coincided with the gradual decadence of Italian
+opera, until this form of entertainment lost prestige, and custom with
+the best of its former clients, <span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>England, Russia and France. We know how
+things on this count stand with us. In Russia, Italian opera, formerly
+subsidised from the Imperial purse, was left to private enterprise, and
+all available funds and encouragement transferred to national opera
+houses; whilst in France the reaction is such, that even the rare
+production of an Italian opera in one of the French theatres is
+tolerated and nothing more.</p>
+
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+<br />
+
+<hr />
+<br />
+<h2>Germany</h2>
+<br />
+
+<p>The organisation of theatres in the German Empire is quite different and
+widely different the results! Let us take only the Court theatres
+(Hoftheater), such as the opera houses of Berlin, Munich, Dresden,
+Wiesbaden, Stuttgart, Carlsruhe and Darmstadt in Germany, those of
+Vienna and Prague in Austria, and the municipal theatre of Frankfort.</p>
+
+<p>These theatres are under the general direction of Court dignitaries,
+such as H.E. Count Hochberg in Berlin and H.S.H. Prince von Lichtenstein
+in Vienna, and under the effective management of Imperial "Intendants"
+in Vienna and Berlin, a Royal "Intendant" at Munich, Dresden, Wiesbaden,
+Stuttgart and Prague, Grand-Ducal at Carlsruhe and Darmstadt, and
+municipal at Frankfort.</p>
+
+<p>The "Intendants" do not participate either in the risks or profits of
+the theatre, but receive a fixed yearly salary varying between 20,000
+and 30,000 marks (&pound;1000 to &pound;1500). They have absolute freedom in the
+reception of <span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>works, the engagements of artists, the selection of
+programmes and repertory, and are answerable only to the Sovereign,
+whose Civil List provides the subsidy, balances accounts, and
+contributes to the settling of retiring pensions of the <i>personnel</i>.</p>
+
+<p>The Berlin Opera House receives a yearly subvention of 900,000 marks, or
+&pound;45,000.</p>
+
+<p>The Vienna Opera House has 300,000 florins (about &pound;25,000) for a season
+of ten months. The deficit, however, if any, is made good from the
+Emperor's Privy Purse.</p>
+
+<p>The King of Saxony puts 480,000 marks (&pound;24,000) at the disposal of Count
+Intendant Seebach. It is interesting to note that in 1897 only 437,000
+marks were actually spent. The orchestra of the Dresden Opera House does
+not figure in the budget, its members being Royal "servants" engaged for
+life and paid by the Crown.</p>
+
+<p>At Munich it is the same, the orchestra being charged to the Civil List
+of the Regent of Bavaria. The cost is 250,000 marks (&pound;12,500), and a
+similar sum is granted to Intendant Possart for the two theatres he
+manages (Hof and Residenz). The season lasts eleven months.</p>
+
+<p>Wiesbaden comes next with a subvention of 400,000 marks, (&pound;20,000)
+granted by the Emperor of Germany as King of Prussia. The season is of
+ten months' duration.</p>
+
+<p>The Court Theatre at Stuttgart is open for ten months, <span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>and the Royal
+subvention to Baron von Putlitz, the Intendant, is 300,000 marks
+(&pound;15,000).</p>
+
+<p>The same sum is granted by the Grand Duke of Baden to the Carlsruhe
+theatre for a season of ten months.</p>
+
+<p>The subvention of Darmstadt is only 250,000 marks (&pound;12,500), the season
+lasting but nine months.</p>
+
+<p>The States of Bohemia grant a sum of 180,000 florins (&pound;15,000 odd) to
+the theatres of Prague for a season of eleven months. 100,000 florins
+(&pound;8000 odd) of this sum are destined for the National Tcheque Theatre.</p>
+
+<p>Frankfort, as an ancient free city, does not enjoy the privileges of
+princely liberality, and has to put up with municipal help, which
+amounts to a yearly donation of 200,000 marks (&pound;10,000) for a season of
+eleven months, and then the Conscript Fathers contrive to get one-half
+of their money back by exacting a duty of 30 pfennigs on every ticket
+sold. A syndicate, with a capital of &pound;12,500, has been formed to help
+the municipal institution.&mdash;Mr Claar.</p>
+
+<p>The chief advantages of Court theatres consist in a guarantee against
+possible deficit, and freedom from taxes; and this enables the
+Intendants to price the seats in their theatres, in a manner which makes
+the best opera accessible to the most modest purse. The prices of stalls
+in German theatres vary between 3 and 6 marks or 3 to 4 florins. (3s. to
+6s. or 7s). Other seats are priced in <span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>proportion, and a considerable
+reduction is made in favour of subscribers. These are simply legion, and
+at Wiesbaden the management have been compelled to limit their number.</p>
+
+<p>The table below, shows at a glance the price of stalls in some of the
+chief German theatres. I give the average figure, the price varying
+according to the order of the row.</p>
+
+<div class="centered">
+<table border="0" width="60%" cellpadding="2" cellspacing="0" summary="png 30">
+  <tr>
+  <td class="tdl" width="70%">Vienna</td>
+  <td class="tdl" width="30%">4 fls. (about 7s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Berlin</td>
+  <td class="tdl">4 fls. (about 7s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Munich &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;}</td>
+  <td class="tdl">&nbsp;</td>
+  </tr>
+  <tr>
+  <td class="tdl">Wiesbaden &nbsp;}</td>
+  <td class="tdl">5 mks. (5s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Frankfort &nbsp;&nbsp;&nbsp;&nbsp;}</td>
+  <td class="tdl">&nbsp;</td>
+  </tr>
+  <tr>
+  <td class="tdl">Prague (Nat. Th.)</td>
+  <td class="tdl">3 fls. (about 5s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Prague (German Th.)</td>
+  <td class="tdl">2.50 (about 4s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Dresden &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;}</td>
+  <td class="tdl">4 mks. (4s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Stuttgart &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;}</td>
+  <td class="tdl">&nbsp;</td>
+  </tr>
+  <tr>
+  <td class="tdl">Darmstadt</td>
+  <td class="tdl">3.50 (3s. 6d.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Carlsruhe</td>
+  <td class="tdl">3 mks. (3s.)</td>
+  </tr>
+</table>
+</div>
+
+<p>The subscriptions are divided into four series, giving each the right to
+two performances weekly, but of course anyone can subscribe for more
+than one series. A yearly subscription comprises&mdash;at Berlin and Prague,
+280 performances; at Vienna, 260; at Munich, 228; at Wiesbaden, <span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>200;
+and at Frankfort, 188. To subscribers the prices of stalls are as
+follows:&mdash;</p>
+
+<div class="centered">
+<table border="0" width="60%" cellpadding="2" cellspacing="0" summary="png 31">
+  <tr>
+  <td class="tdl" width="70%">Vienna</td>
+  <td class="tdl" width="30%">3 fls. 7 kr. (6s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Wiesbaden</td>
+  <td class="tdl">5 mks. (5s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Berlin</td>
+  <td class="tdl">4.50 (4s. 6d.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Frankfort</td>
+  <td class="tdl">3.51 (3s. 6d.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Munich</td>
+  <td class="tdl">3.47 (3s. 6d.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Darmstadt</td>
+  <td class="tdl">2 mks. (2s.)</td>
+  </tr>
+  <tr>
+  <td class="tdl">Prague</td>
+  <td class="tdl">1 florin (1s. 9d.)</td>
+  </tr>
+</table>
+</div>
+
+<p>These figures suffice to prove the colossal benefit princely patronage
+and subvention bestow on the theatre-goer, in putting a favourite
+entertainment within the reach of the masses. Moreover, the German
+opera-goer is catered for both in quality and quantity.</p>
+
+<p>As regards quality, he has the pick of the masterpieces of every school,
+nation and repertory. Gluck, Spontini, Cherubini, Auber, H&eacute;rold,
+Boieldieu, Mozart, Beethoven and Weber hobnob on the yearly programmes
+with Wagner, Verdi, Mascagni, Puccini, Giordano and Leoncavallo, to cite
+a few names only. As regards quantity, the following details speak for
+themselves&mdash;I take the theatrical statistics for the year 1895-1896:&mdash;</p>
+
+<p>The Berlin Opera House produces 60 various works&mdash;52 operas and 8
+ballets.</p>
+
+<p><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>The Vienna Opera House 74 works&mdash;53 operas and 21 ballets.</p>
+
+<p>The New German Theatre at Prague&mdash;45 operas, 11 light operas and two
+ballets.</p>
+
+<p>The Frankfort Theatre&mdash;60 operas, 11 operettes, 4 ballets and 13 great
+spectacular pieces.</p>
+
+<p>At Carlsruhe&mdash;47 operas and 1 ballet.</p>
+
+<p>At Wiesbaden&mdash;43 operas and 6 ballets.</p>
+
+<p>At Darmstadt&mdash;48 operas, 2 operettes and 5 ballets.</p>
+
+<p>At Hanover&mdash;37 operas.</p>
+
+<p>At the National Theatre, Prague&mdash;48 operas and 6 ballets.</p>
+
+<p>At Stuttgart&mdash;53 operas and 5 ballets.</p>
+
+<p>At Munich&mdash;53 operas and 2 ballets.</p>
+
+<p>At Dresden&mdash;56 operas, 5 ballets and 4 oratorios.</p>
+
+<p>These are splendid results of enterprise properly encouraged, and I am
+giving only a fraction of the information in my possession, for there
+are no less than ninety-four theatres in Europe, where opera is
+performed in German, and of these seventy-nine are sufficiently well
+equipped to mount any great work of Wagner's, Meyerbeer's, etc.</p>
+
+<p>Most of these theatres produce every year one new work at least, and
+thus the repertory is constantly renewed and augmented.</p>
+
+<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>Every German theatre has attached to it a "choir school," where girls
+are admitted from their fifteenth year and boys from their seventeenth.
+They are taught <i>solfeggio</i> and the principal works of the repertory.
+The classes are held in the early morning, so as not to interfere with
+the pursuit of the other avocations of the pupils; but each receives,
+nevertheless, a small yearly salary of 600 marks (&pound;30). These studies
+last two years, and during that time the pupils have often to take part
+in performances, receiving special remuneration for their services. When
+they are considered sufficiently well prepared, they pass an
+examination, and are appointed chorus-singers at a salary of 1000 to
+1800 marks (&pound;50 to &pound;90) a year, and are entitled besides to a special
+fee (<i>Spielgeld</i>) of 1s. 6d. to 2s. 6d. per performance for an ordinary
+chorus-singer, and 2s. to 5s. for a soloist. If we reckon that a
+chorus-singer, can take part on an average in some 250 performances in a
+year, at an average fee of, say, 2s. each, we find that his income is
+increased by a sum of &pound;25, a very decent competence. Nor is this all. In
+the smallest German towns, in the most modest theatres, there exist
+"pension funds" for all theatrical artists and <i>employ&eacute;s</i>. These funds
+are fed:&mdash;</p>
+
+<div class="blockquot"><p>(1.) By a yearly donation from the Sovereign's Privy Purse.</p>
+
+<p>(2.) By retaining from 1 per cent. to 5 per cent. on the
+salaries of members.</p>
+
+<p><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>(3.) From benefit concerts and performances.</p>
+
+<p>(4.) From all kinds of donations, legacies, fines, etc.</p></div>
+
+<p>At Stuttgart the King takes charge of all the pensions, except of those
+of widows and orphans, who are provided for from another fund.</p>
+
+<p>At Munich the King furnishes the original capital with a sum of 200,000
+marks (&pound;10,000), and to-day the fund has over 1,000,000 marks at its
+disposal. Eight years' service entitles a member to a full pension.</p>
+
+<p>At Prague six years' service gains a pension, but the average period
+throughout Germany is ten years.</p>
+
+<p>There are scores of additional points of great interest, in connection
+with the working of German subsidised theatres. The above suffices,
+however, for the purpose of showing the immense advantage of a system of
+State-aided Art, a system that might serve as a model to a country about
+to embark on similar enterprises. I will add one detail more. There
+being no author's society in Germany, as in France, the theatrical
+managers treat with music publishers direct for the performing rights of
+scores which they own. The old repertory costs, as a rule, very little,
+and the rights of new works are charged generally from 5 per cent. to 7
+per cent. on the gross receipts. Moreover, band parts and scores are not
+hired, as in Italy, but bought outright, and remain in the library of
+the theatre.</p>
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+<br />
+
+<hr />
+<br />
+<h2>France</h2>
+<br />
+
+<p>In France the State intervenes directly in theatrical matters in Paris
+only, subsidising the four chief theatres of the capital&mdash;to wit, the
+Op&eacute;ra, the Op&eacute;ra Comique, the Com&eacute;die Fran&ccedil;aise and the Od&eacute;on.</p>
+
+<p>In the provinces theatres are subsidised by municipal councils, who vote
+each year a certain sum for the purpose. The manager is appointed for
+one year only, subject to his acceptance of the <i>cahier des charges</i>, a
+contract embodying a scheme of stipulations devised by the council, and
+imposed in return for the subsidy granted. The least infraction of the
+conditions laid therein brings its penalty either in the way of a fine
+or the forfeit of the contract. The subsidies vary according to the
+importance of the town, the theatres of Lyons, Bordeaux and Marseilles
+being the three best endowed. Less favoured are places like Rouen,
+Lille, Nantes, Dijon, Nancy, Angers, Reims, Toulouse, etc., and, though
+the Chamber of Deputies votes every year in the Budget of Fine Arts a
+considerable sum for the provinces, the subsidy is not allotted to
+theatres, but to conservatoires, <span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>symphonic concerts and orpheonic
+societies. Two years ago a Deputy, M. Goujon, obtained in the Chamber
+the vote of a special grant for such provincial theatres as had
+distinguished themselves by producing novelties. But the Senate threw
+out the proposal.</p>
+
+<p>It is not, however, as if the Government of the Republic were
+indifferent to the fate of the provincial theatres or their progress in
+the field of operatic art. But worship of Paris on one side, and a
+dislike to decentralisation on the other, are responsible for the fact
+that all efforts are directed towards one channel, namely, the four
+before-named Parisian theatres. Of these, naturally enough only the
+opera house will engage my attention, or more precisely one alone, the
+Grand Opera House, <i>La Th&eacute;&acirc;tre National de l'Op&eacute;ra</i>, there being little
+practical difference between the working of that and of the younger
+house, the <i>Th&eacute;&acirc;tre de l'Op&eacute;ra Comique</i>.</p>
+
+<p>A few words, following chronologically the various stages through which
+the Paris Opera House has passed since its origin, may prove of
+interest, and serve to indicate how untiring has been the care of
+successive Governments over the fortunes and the evolution of the
+operatic problem in France.</p>
+
+<p>It will be remembered that Pierre Perrin was the possessor of the first
+operatic privilege granted by Louis XIV. in 1669. Hardly had he been
+installed when Lulli <span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>began to intrigue against his management, and
+having learnt that the profits of the first year amounted to over
+120,000 livres, he had no rest until he obtained, through the influence
+of Mme. de Montespan, the dismissal of Perrin and obtained the post for
+himself. In fifteen years his net profits amounted to 800,000 livres!</p>
+
+<p>He was succeeded by his son-in-law, Francine, who held the privilege
+with various fortunes until 1714, the King intervening more than once in
+the administration. In 1715 the Duc d'Antin was appointed <i>Regisseur
+Royal de l'Acad&eacute;mie</i> by letters-patent of the King, who up till then
+considered himself supreme chief of his Academy.</p>
+
+<p>In 1728 the management passed into the hands of Guyenet, the composer,
+who in turn made over the enterprise, for a sum of 300,000 livres, to a
+syndicate of three&mdash;Comte de Saint-Gilles, President Lebeuf and one
+Gruer. Though their privilege had been renewed for thirty years, the
+King, Louis XV., was obliged to cancel it owing to the scandal of a
+<i>f&ecirc;te galante</i> the syndicate had organised at the Acad&eacute;mie Royale, and
+Prince de Carignan was appointed in 1731 <i>inspecteur-general</i>. A captain
+of the Picardy regiment, Eugene de Thuret, followed in 1733, was
+succeeded in 1744 by Berger, and then came Trefontain&eacute;, whose management
+lasted sixteen months&mdash;until the 27th of August <span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>1794. All this was a
+period of mismanagement and deficits, and the King, tired of constant
+mishaps and calls upon his exchequer, ordered the city of Paris to take
+over the administration of his Academy. At the end of twenty-seven years
+the city had had enough of it, and the King devised a fresh scheme by
+appointing six "Commissaires du Roi pres la Acad&eacute;mie" (Papillon de la
+Ferte, Mareschel des Entelles, De la Touche, Bourboulon, H&eacute;bert and
+Buffault), who had under their orders a director, two inspectors, an
+agent and a cashier. But the combination was short-lived, lasting barely
+a year. In 1778 the city of Paris made one more try by granting a
+subvention of 80,000 livres by a Sieur de Vismos.</p>
+
+<p>In 1780 the King took back from the city the operatic concession&mdash;we
+must bear in mind it was a monopoly all this time&mdash;appointing a
+"Commissaire de sa Majeste" (La Ferte) and a director (Berton).</p>
+
+<p>In 1790 the opera came once more under the administration of the city,
+and during the troublous times of the Revolution changed its name of
+Acad&eacute;mie Royale to that of <i>Th&eacute;&acirc;tre de la R&eacute;publique et des Arts</i>.</p>
+
+<p>By an Imperial decree of the 29th of July 1807 the opera came under the
+jurisdiction of the first Chamberlain of the Emperor, whilst under the
+Restoration the Minister of the King's Household took the
+responsibilities of <span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>general supervision. One Picard was appointed
+director under both <i>r&eacute;gimes</i>, and was succeeded by Papillon de la Ferte
+and Persius. Then followed the short management of Viotti, and in 1821
+F. Habeneck was called to the managerial chair.</p>
+
+<p>The Comte de Blacas, Minister of the King's Household, became
+superintendent of Royal theatres, and after him the post was occupied by
+the Marquis de Lauriston, the Duc de Doudeauville and the Vicomte
+Sosthenes de la Rochefoucauld. Habeneck was replaced by Duplantis, who
+took the title of Administrator of the Opera. The administration of M.
+de la Rochefoucauld cost King Louis Philippe 966,000 francs in addition
+to the State subvention, and an extra subsidy of 300,000 francs derived
+from a toll levied in favour of the opera on side shows and fancy
+spectacles. This was in 1828, and in 1830 the King, finding the
+patronage of the opera too onerous for his Civil List, resolved to
+abandon the theatre to private enterprise. Dr Veron offered to take the
+direction of the opera house, at his own risk, for a period of six years
+with a subsidy of 800,000 francs, and, with the exception of a period of
+twelve years (1854-1866), the administration of the opera was included
+in the duties of the Master of the Emperor's Household. Both the subsidy
+and the principle of private enterprise <span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>have remained to this day as
+settled in 1830. Before then, for 151 years, French opera had enjoyed
+the patronage and effective help of the Sovereign, or the chief of the
+State, very much on the same system as obtains at the present day in
+Germany.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>Dr Veron had as successors, MM. Duponchel, Leon Pillet, Nestor
+Roqueplan, Perrin, Halanzier, Vaucorbeil, Ritt and Gailhard, Bertrand
+and Gailhard, and finally Pierre Gailhard, the present director of the
+Th&eacute;&acirc;tre National de l'Op&eacute;ra.</p>
+
+<p>The present relations in France between the State and the director of
+the opera are as follows:&mdash;</p>
+
+<p>The Paris Opera House, like all other theatres in France, and for the
+matter of that all institutions in the domain of Art in that country, is
+under the direct control and dependence of the Minister of Fine Arts,
+who has absolute power in appointing a director, in drawing up the
+<i>cahier des charges</i>, in imposing certain conditions and even in
+interfering with the administration of the theatre. The appointment,
+called also the granting of the <i>privil&egrave;ge</i>, is for a number of years,
+generally seven, and can be renewed or not at the wish or whim of the
+<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>Minister. The <i>cahier des charges</i>, as already stated, is a contract
+embodying the conditions under which the <i>privil&egrave;ge</i> is granted. Some of
+these are at times very casuistic. As regards interference, one can
+easily understand how a chief can lord it over his subordinate if so
+minded. It is sufficient to point out the anomaly of the director's
+position who is considered at the same time a Government official and a
+tradesman&mdash;a dualism that compels him to conciliate the attitude of a
+disinterested standard-bearer of national art with the natural desire of
+an administrator to run his enterprise for profit. Let me cite a typical
+instance. Of all the works in the repertory of the opera, Gounod's
+<i>Faust</i> still holds the first place in the favour of the public, and is
+invariably played to full or, at least, very excellent houses, so that
+whenever business is getting slack <i>Faust</i> is trotted out as a trump
+card.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Another sure attraction is Wagner's <i>Walk&uuml;re</i>. On the other
+hand, a good many operas by native composers have failed to take the
+public fancy, and have had to be abandoned before they reached a minimum
+of, say, twenty performances in one year. Now, when the director sees
+that his novelty is played to empty <span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>houses he hastens to put on <i>Faust</i>
+or the <i>Walk&uuml;re</i>, but the moment he does it up goes a cry of complaint,
+and a reproof follows&mdash;"You are not subsidised to play <i>Faust</i> or operas
+by foreign composers, but to produce and uphold the works of native
+musicians; you are not a tradesman, but a high dignitary in the Ministry
+of Fine Arts," and so on.</p>
+
+<p>At other times, when in a case of litigation, the director wishes to
+avail himself of the prerogatives of this dignity, he is simply referred
+to the Tribunal de Commerce, as any tradesman. Ministerial interference
+is exercised, however, only in cases of flagrant maladministration, and
+then there are, of course, directors and directors, just the same as
+there are Ministers and Ministers.</p>
+
+<p>It is needless to go over the whole ground of the <i>cahier des charges</i>,
+the various paragraphs of which would form a good-sized pamphlet. The
+cardinal points of the stipulations between the contracting parties are,
+that the director of the Paris Opera House receives on his appointment
+possession of the theatre rent free, with all the stock of scenery,
+costumes and properties, with all the administrative and artistic
+<i>personnel</i>, the repertory, and a yearly subsidy of 800,000 francs
+(&pound;32,000).</p>
+
+<p>In return for this he binds himself to produce every year a number of
+works by native composers, and to mount <span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>these in a manner capable of
+upholding the highest standard of art, and worthy of the great
+traditions of the house. This implies, among others, that every new work
+must be mounted with newly-invented scenery and freshly-devised
+costumes, and that in general, no one set of scenery, or equipment of
+wardrobe, can serve for two different operas, even were there an
+identity of situations or historical period or any other points of
+similarity. Thus, if there are in the opera repertory fifty works,
+necessitating, say, a cathedral, a public square, a landscape or an
+interior, the direction must provide fifty different cathedrals, fifty
+different public squares, fifty varying landscapes, etc. The same
+principle applies to costumes, not only, of the principal artists, but
+of the chorus and the ballet. Only the clothes and costumes of
+definitely abandoned works can be used again by special permission of
+the Minister of Fine Arts.</p>
+
+<p>As regards the new works that a director is bound to produce every year,
+not only is their number stipulated, but the number of acts they are to
+contain, and their character is specified as well. This is in order to
+avoid the possible occurrence of a production, say, of two works each in
+one act, after which exertion a director might consider himself quit of
+the obligation. It is plainly set out that the director must produce in
+the course of the year <i>un grand ouvrage</i>, <i>un petit ouvrage</i>, and a
+ballet of <span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>so many acts each&mdash;total, eight, nine or ten acts, according
+to the stipulations. Moreover, he is bound to produce the work of a
+<i>prix de Rome</i>&mdash;that is to say, of a pupil of the Conservatoire, who has
+received a first prize for composition, and has been sent at the expense
+of the Government to spend three years at the Villa Medicis of the
+Acad&eacute;mie de France in Rome. Owing to circumstances, the Minister himself
+designates the candidates for this <i>ex-officio</i> distinction, guided by
+priority of prizes. The director had recourse to this measure through
+the fault of the <i>prix de Rome</i> themselves, who, over and over again,
+either had nothing ready for him or else submitted works entirely
+unsuitable for the house. The Minister's nomination relieves the
+director of responsibility in such cases.</p>
+
+<p>Works of foreign composers produced at the opera, do not count in the
+number of acts stipulated by the <i>cahier de charges</i>, the respective
+paragraphs being drawn up in favour of native composers; nor can any
+excess in the number of acts produced in one year be carried over to the
+next year.</p>
+
+<p>Amongst the prerogatives of the Paris opera director, is the absolute
+monopoly of his repertory in the capital&mdash;works in the public domain
+excepted&mdash;and the right to claim for his theatre the services of those
+who gain the first prizes at <span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>the final examinations of the operatic
+classes at the Conservatoire.</p>
+
+<p>Towards the working expenses of his theatre the director has, firstly,
+the subvention and the subscription, and, secondly, the <i>alea</i> of the
+box-office sales. The subvention of 800,000 francs divided by the number
+of obligatory performances gives close upon &pound;170 towards each, and the
+subscription averages &pound;400 a night, or &pound;570 as a minimum with which the
+curtain is raised, and it is the manager's business to see that his
+expenses do not exceed the sum. The "house full" receipts being very
+little over &pound;800 at usual prices, the margin is not very suggestive of
+huge profits. Indeed, with the constantly rising pretensions of star
+artists, spoilt by the English, and American markets, and the fastidious
+tastes of his patrons, the Paris opera director has some difficulty in
+making both ends meet. Within the last fifteen years the two Exhibition
+seasons have saved the management from financial disaster, and this only
+by performing every day, Sundays sometimes included. Some fifty new
+works by native composers have been produced at the opera since the
+opening of the new house in 1876, and six by foreign composers&mdash;<i>Aida</i>,
+<i>Otello</i>, <i>Lohengrin</i>, <i>Tannh&auml;user</i>, <i>Walk&uuml;re</i>, and <i>Meistersinger</i>. The
+maximum of performances falls to <i>Romeo et Juliette</i>, this opera heading
+also the figure of average receipts with 17,674 francs (about &pound;507).
+Eleven works have had the <span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>misfortune to figure only between three and
+nine times on the bill.</p>
+
+<p>Independently of the supervision exercised by the Minister of Fine Arts,
+the strictest watch is kept over managerial doings by the Soci&eacute;t&eacute; des
+Auteurs, a legally constituted body which represents the authors'
+rights, and is alone empowered to treat in their names with theatrical
+managers, to collect the fees, to guard the execution of contracts and
+even to impose fines.</p>
+
+<p>Thus is national art in France not only subsidised and patronised, but
+safeguarded and protected.</p>
+
+<h4>FOOTNOTES:</h4>
+
+<div class="footnote"><p class="noin"><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> It may be of interest to note that during this period no
+less than 543 different works, mostly by native composers, had been
+produced. The last opera produced under the old <i>r&eacute;gime</i> on the 3rd of
+August 1829 was Rossini's <i>Guillaume Tell</i>.</p></div>
+
+<div class="footnote"><p class="noin"><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> During 1900 <i>Faust</i> was played thirty-nine times to an
+average house of 18,397 francs (about &pound;730) in a repertory of
+twenty-five operas, and the <i>Walk&uuml;re</i> eleven times to an average of
+19,417 francs (about &pound;777).</p></div>
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+<br />
+
+<hr />
+<br />
+<h2>The English National Opera House</h2>
+<br />
+
+<p>Three factors determine the existence of any given theatre and have to
+be considered with reference to my proposed National Opera House,
+namely, tradition, custom, and enterprise.</p>
+
+<p>I have proved we possess an operatic tradition, and as regards custom no
+one will dispute the prevalence of a taste for opera. Indeed, from
+personal experience, extending over a number of years, I can vouch for a
+feeling akin to yearning in the great masses of the music-loving public
+after operatic music, even when stripped of theatrical paraphernalia,
+such, for example, as one gets at purely orchestral concerts. It is
+sufficient to follow the Queen's Hall Wagner concerts to be convinced
+that the flattering patronage they command is as much a tribute to the
+remarkably artistic performance of Mr Henry Wood, as it is due to the
+economy of his programmes. Again, in the provinces, I have observed,
+times out of number, crowded audiences listening with evident delight,
+not only to popular operas excellently done by the Moody-Manners'
+Company, but to performances of <i>Tristan</i> <span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>and <i>Siegfried</i>, which, for
+obvious reasons, could not give the listeners an adequate idea of the
+real grandeur of these works. But the love of opera is there, and so
+deeply rooted, that, rather than be without it, people are willing to
+accept what they can get.</p>
+
+<p>This much, then, for tradition and custom.</p>
+
+<p>As regards enterprise in the operatic field, it can be twofold&mdash;either
+the result of private initiative, working its own ends independently, or
+else it is organised, guided, and helped, officially.</p>
+
+<p>It is under the former aspect that we have known it, so far, in this
+country, and as we are acquainted with it, especially in London, we find
+it wanting, from the point of view of our special purpose. Not that it
+should be so, for the Covent Garden management, as at present organised,
+could prove an ideal combination for the furtherance of national art,
+were its aims in accordance with universal, and, oft-expressed, desire.
+What better can be imagined than a theatre conducted by a gathering
+representative of, nobility, fashion, and wealth?</p>
+
+<p>It is under such auspices that opera originated, and that native art
+sprang to life and prospered everywhere; and it is to these one has the
+right to turn, with hope and trust, in England. But when wealth and
+fashion stoop from the pedestal assigned to them by tradition, and
+barter the <span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>honoured part of M&aelig;cenas for that of a dealer, they lose the
+right to be considered as factors in an art problem, and their
+enterprise may be dismissed from our attention. For the aim of an opera
+house, worthy of a great country like England, should not be to make
+most money with any agglomeration of performers, and makeshift
+<i>mise-en-sc&egrave;ne</i>, but to uphold a high standard of Art.</p>
+
+<p>But the elimination of private enterprise from my scheme is but one more
+argument in favour of official intervention, and the experience of
+others will stand us in good stead.</p>
+
+<p>Of the three systems of State subsidised theatres, as set out in my
+<i>expos&eacute;</i> of operatic systems in Italy, Germany, and France, the ideal
+one is, of course, the German, where the Sovereign's Privy Purse
+guarantees the working of Court theatres, and secures the future of
+respective <i>personnels</i>. But the adoption of this plan, or the wholesale
+appropriation of any one other, cannot be advocated, if only because the
+inherent trait of all our institutions is that they are not imported,
+but the natural outcome of historical, or social, circumstances. My
+purpose will be served as well, if I select the salient features of each
+system.</p>
+
+<p>Thus, in the first instance, admitting the principle of State control in
+operatic matters, I will make the furtherance of national art a
+condition <i>sine qua non</i> of the very <span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>existence of a subsidised theatre,
+and performances in the English language obligatory.</p>
+
+<p>Secondly, I will adopt the German system of <i>prevoyance</i>, in organising
+old age pensions for theatrical <i>personnels</i>.</p>
+
+<p>Thirdly, I will borrow from Italy the idea of municipal intervention,
+all the more as the municipal element has become, of late, an
+all-important factor in the economy of our civic life, and seems all but
+indicated to take active part in a fresh phase of that life.</p>
+
+<p>I do not see how any objection can be raised to the principle of these
+three points, though I am fully aware of the difficulties in the way of
+each; difficulties mostly born of the diffidence in comparing the status
+of operatic art abroad, with its actual state in this country. It must
+be borne in mind, however, that I am endeavouring to give help to the
+creation of a national art, and not promoting a plan of competition with
+the operatic inheritance of countries which have had such help for over
+two centuries.</p>
+
+<p>We are making a beginning, and we must perforce begin <i>ab ovo</i>, doing
+everything that has been left undone, and undoing, at times, some things
+that have been, and are being, done. Let me say, at once, to avoid
+misapprehension, that I refer here to the majority of the Anglicised
+versions of foreign <i>libretti</i>. They are unsatisfactory, to put it very
+mildly, and, will have to be re-written again before, these <span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>operas can
+be sung with artistic decency in English. The classes of our great
+musical institutions will have to be reorganised entirely, from the
+curriculum of education to examinations. This is a crude statement of
+the case, the details can always be elaborated on the model of that fine
+nursery of artists, the Paris Conservatoire. We must not be deterred by
+the possible scarcity of native professors, able to impart the
+indispensable knowledge. Do not let us forget that the initial
+instructors of operatic art came from Italy to France, together with the
+introduction of their new art; but, far from monopolising tuition, they
+formed pupils of native elements, and these in turn became instructors,
+interpreters, or creators. The same thing will happen again, if
+necessary, let us by all means import ballet masters, professors of
+deportment, singing teachers, and whoever can teach us what we do not
+know, and cannot be taught by our own men. Pupils will be formed soon
+enough, and the foreign element gradually eliminated. Do not let us
+forget, either, that stalest of commonplaces that "Rome was not built in
+a day."</p>
+
+<p>We are not trying to improvise genii, or make a complete art, by wishing
+for the thing, but we are laying foundations for a future architecture,
+every detail of which will be due to native enterprise, and the whole a
+national pride. To look for immediate results would be as idle as to
+expect <span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>Wagners, and Verdis, or Jean de Reszkes, and Terninas, turned
+out every year from our schools, simply because we have a subsidised
+opera house, and reorganised musical classes.</p>
+
+<p>We are bound to arrive at results, and no one can say how great they may
+be, or how soon they may be arrived at. The unexpected so often happens.
+Not so many years ago, for example, operatic creative genius seemed
+extinct in the land of its birth, and the all-pervading wave of
+Wagnerism threatened the very existence of musical Italy, when, lo!
+there came the surprise of <i>Cavalleria Rusticana</i>, and the still greater
+surprise of the enthusiasm with which the work was received in Germany,
+and the no less astonishing rise of a new operatic school in Italy, and
+its triumphant progress throughout the musical world. Who can say what
+impulse native creative talent will receive in this country, when it is
+cared for as it certainly deserves?</p>
+
+<p>The question arises now of the most practical manner in which this care
+can be exercised?</p>
+
+<p>Plans have been put forward more than once,&mdash;discussed, and discarded.
+This means little. Any child can pick a plan to pieces, and prove its
+unworthiness. Goodwill means everything, and a firm conviction that in
+the performance of certain acts the community does its duty for reasons
+of public welfare. I put more trust in these than in the actual merit of
+my scheme, but, such as it is, I submit it for <span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>consideration, which, I
+hope, will be as seriously sincere, as the spirit in which it is
+courted.</p>
+
+<p>I would suggest that the interests of the National Opera House in
+London, should be looked after by a Board under the supervision of the
+Education Department, the members of the Board being selected from among
+the County Councillors, the Department itself, and some musicians of
+acknowledged authority.</p>
+
+<p>The enlisting of the interest of the Educational Department would
+sanction the theory of the educational mission of the venture; the
+County Council comes into the scheme, for financial and administrative
+purposes; the selection of musicians needs no explanation, but a proviso
+should be made that the gentlemen chosen, have no personal interest at
+stake.</p>
+
+<p>As I said before, we have to begin at the beginning, and so the duties
+of the Board would be:&mdash;</p>
+
+<div class="blockquot"><p>1. The building of a National Opera House in London.</p>
+
+<p>2. The drawing up of a schedule of stipulations on the lines
+of the French <i>cahier des charges</i> regulating the work of
+the theatre.</p>
+
+<p>3. The appointment of a manager.</p>
+
+<p>4. The supervision of the execution of the stipulations
+embodied in the schedule.</p>
+
+<p>5. The provision of funds for the subsidy.</p></div>
+
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>As to the first of these points, I do not at all agree with those who
+wish every new opera house constructed in servile imitation of the
+Bayreuth model. Such a theatre would only be available for operatic
+performances of a special kind, but the structure of the auditorium
+would result in the uniformity of prices which goes dead against the
+principle of a theatre meant for the masses as well as for the classes.</p>
+
+<p>All that I need say here is, that our National Opera House should be
+built in London, and according to the newest inventions, appliances and
+most modern requirements.</p>
+
+<p>As regards the second point, enough has been said about describing
+foreign systems to show how a schedule of stipulations should be drawn
+up, when the time comes.</p>
+
+<p>Concerning the appointment of a manager, it goes without saying that the
+director of our National Opera House must be an Englishman born and
+bred, and a man of unimpeachable commercial integrity and acknowledged
+theatrical experience. Such a selection will make the task of the Board
+in supervising the work an extremely easy one.</p>
+
+<p>The provision of funds is the crucial point of the scheme. Before going
+into details, let me appeal to the memory of the British public once
+more, praying that it <span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>will remember that every year some &pound;50,000 or
+&pound;60,000 of national cash is spent in ten or twelve weeks to subsidise
+French, German and Italian artistes in London. It is but reasonable to
+suppose that if an authoritative appeal for funds on behalf of National
+Opera were made, at least half of this money would be forthcoming for
+the purpose. And so I would advocate such an appeal as the first step
+towards solving the financial problem of my scheme. Secondly, there
+would have to be a <i>first</i> Parliamentary grant and an <i>initial</i>
+disbursement of the County Council funds, all towards the building of
+the opera house. It is impossible to name the necessary sum; but one can
+either proceed with what one will eventually have, or regulate
+expenditure according to estimates.</p>
+
+<p>The house once built and the manager appointed, both Parliamentary and
+County Council grants will have to be renewed every year, the sum-total
+being apportioned to the probable expenses of every performance, the
+number of performances and the length of the operatic season. The best
+plan to follow here would be to have a season of, say nine or ten
+months, with four performances a week.</p>
+
+<p>The manager would receive the house rent free, but should on his side
+show a working capital representing <span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>at least half the figure of the
+annual subsidy, and, further, lodge with the Board a deposit against
+emergencies. Considering the initial expenses of the first management,
+when everything, from insignificant "props" to great sets of scenery
+will have to be furnished in considerable quantities, there should be no
+charges on the manager's profits in the beginning, for a year or two.
+But later on, 10 per cent. off the gross receipts of every performance
+might be collected, one part of the proceeds going towards a sinking
+fund to defray the cost of the construction of the house, and the other
+towards the establishment of a fund for old age pensions for the
+<i>personnel</i> of the opera house.</p>
+
+<p>A further source of income that would go towards indemnifying the
+official outlay might be found in a toll levied on the purchaser of 2d.
+in every 10s. on all tickets from 10s. upwards, of 1d. on tickets
+between 5s. and 10s., and of &frac12;d. on all tickets below 5s. I would make
+also compulsory a uniform charge of 6d. for every complimentary ticket
+given away.</p>
+
+<p>It is well-nigh impossible in the present state of my scheme to go into
+details of figures, especially concerning the official expenditure. But,
+as figures have their eloquence, we may venture on a forecast of such
+returns as might be reasonably expected to meet the outlay. I take it
+for granted that our opera house will be built of sufficient <span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>dimensions
+to accommodate an audience of 3000, and arranged to make an average of
+&pound;700 gross receipts (subvention included) per performance possible.
+Taking the number of performances in an operatic season at 160 to 180,
+four performances a week in a season of nine or ten months, we get a
+total of receipts from &pound;112,000 to &pound;126,000, or, &pound;11,200 to &pound;12,600,
+repaid yearly for the initial expenses of the subsidising bodies, as per
+my suggestion of 10 per cent. taken off the gross receipts. The toll
+levied on tickets sold should average from &pound;1446, 13s. 4d. to &pound;1650
+annually, with an average audience of 750 in each class of toll for each
+performance: altogether between &pound;12,646 and &pound;14,250 of grand total of
+returns. From a purely financial point of view, these might be
+considered poor returns for an expenditure in which items easily figure
+by tens of thousands. But, in the first instance, I am not advocating a
+speculation, and secondly, there are other returns inherent to my
+venture, one and all affecting the well-being of the community more
+surely than a lucrative investment of public funds. The existence of a
+National Opera House gives, first of all, permanent employment to a
+number of people engaged therein, and which may be put down roughly at
+800 between the performing and non-performing <i>personnel</i>. Such is, at
+least, the figure at all great continental opera houses.</p>
+
+<p>In Vienna, the performing <i>personnel</i>, including chorus, <span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>orchestra,
+band, ballet, supers and the principal singers, numbers close upon 400.
+Then follows the body of various instructors, regisseurs, stage
+managers, repetiteurs, accompanists, etc., then come all the stage
+hands, carpenters, scene-shifters, machinists, electricians,
+scenographers, modellers, wig-makers, costumiers, property men,
+dressers, etc., etc., etc., and on the other side of the footlights
+there are ushers, ticket collectors, and the whole of the
+administration. Thus one single institution provides 800 people not only
+with permanent employment but with old age pensions. Nor is this all.
+The proper working of a large opera house necessitates a great deal of
+extraneous aid and calls to life a whole microcosm of workers, trader
+manufacturers and industries of all kinds.</p>
+
+<p>Let us take here the statistics for the city of Milan to better grasp my
+meaning. The figures are official, and are taken from a report presented
+to the municipality some time ago, and prove there is a business side of
+vital importance attached to the proper working of the local subsidised
+theatre, La Scala. The following are the items of what they call <i>giro
+d'affari</i>, or, in paraphrase, of "the operatic turn-over," and all are
+official figures.</p>
+
+<div class="centered">
+<table border="0" width="80%" cellpadding="2" cellspacing="0" summary="png 58">
+  <tr>
+  <td class="tdl" width="55%">The receipts of La Scala represent during the season the sum of</td>
+  <td class="tdl" width="5%">&nbsp;</td>
+  <td class="tdlb" width="40%">&nbsp;&nbsp;&nbsp;&nbsp;1,300,000 fr. (&pound;52,000)</td>
+  </tr>
+  <tr>
+  <td class="tdl"><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> Out of
+    which a <i>personnel</i> of 816, exclusive of principal artistes, receive salaries.</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;</td>
+  </tr>
+  <tr>
+  <td class="tdl"> There are in Milan eleven operatic agencies transacting every year an
+    average of 300,000 francs' (&pound;12,000) worth of business, or altogether</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;3,300,000 fr (&pound;132,000)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> There are nine theatrical newspapers with an average income of 15,000 francs
+    (&pound;600) each, or altogether</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;135,000 fr. (&pound;5400)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> Taking only the nineteen principal singing and ballet masters, and putting
+    down their earnings at the modest sum of 6000 francs (&pound;240) each, we get a total of</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;114,000 fr. (&pound;4560)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> The chief theatrical costumiers alone, four in number, return an average
+    business of 80,000 francs (&pound;3200) each, or</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;320,000 fr. (&pound;12,800)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> Theatrical jewellers, property makers, hose manufacturers, armourers,
+    scene-painters, may be put down for</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;250,000 fr. (&pound;10,000)</td>
+  </tr>
+  <tr>
+  <td class="tdl"><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> The
+    theatrical and artistic population in Milan, year in, year out, averages 3000 persons, and
+    may be divided into three classes of 1000 persons each, according to their expenditure.</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+  </tr>
+  <tr>
+  <td class="tdl"> Say 1000 persons spending 4000 francs (&pound;160) each, which makes
+    4,000,000 francs (&pound;160,000); 1000 persons spending 1000 francs (&pound;40,000); 1000
+    persons spending 800 francs (&pound;32), which makes 800,000 francs (&pound;32,000), a total
+    of</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;5,800,000 fr. (&pound;232,000)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> The pianoforte dealers let about 400 instruments every year at 12 francs a
+    month</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57,800 fr. (&pound;2312)</td>
+  </tr>
+  <tr>
+  <td class="tdl"> Taking into account only eight of the opera companies (Monte Video, New York,
+     Caracas, Santiago, Madrid, Buenos Ayres, Rio and Lisbon) engaged in Milan, and selected
+     exclusively from Italian artistes, we get a total of</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">252,525,000 fr. (&pound;1,021,000)</td>
+  </tr>
+  <tr>
+  <td class="tdl"><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> Adding
+    all these together, we get a grand total of</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdlb">&nbsp;&nbsp;36,801,800 fr. (&pound;1,472,072)</td>
+  </tr>
+</table>
+</div>
+
+<br />
+
+<p>Very nearly a million and a half sterling turned over in
+ operatic, business in one city. And there are scores of minor
+ items, all sources of profit, that have to be neglected. But
+ I must point out that no less than 1745 families derive employment
+ and a regular income from the theatrical industry
+ of Milan. It is quite true that the capital of Lombardy
+ enjoys a position which is unique not only in Italy but in
+ the whole world, as the chief operatic market, and there is
+ nothing that indicates this artistic centre is likely to be
+ shifted, much less to London than anywhere else. But it
+ would be interesting to know how much English money goes
+ towards the fine total of the Milanese operatic turn-over.
+ There is no reason why we should not have our twenty odd
+ trades, as in Milan, and at least 1745 households whose
+ material existence would be definitely secured through their
+ association with a National Opera House. If I am not
+ writing in vain, our results should be infinitely greater,
+ differing from continental ones as a franc or a mark differs
+ from a pound sterling. And should the great provincial towns
+ follow the lead of London, entrusting their municipalities
+ with the creation and organisation of opera houses, if Manchester,
+ Liverpool, Birmingham, Leeds, Glasgow, Sheffield,
+ Bradford, Dublin, Hull, Southampton, Plymouth, <span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>Wolverhampton,
+ etc., will turn a part of their wealth towards promoting
+ a scheme of the greatest importance to the art of the
+ nation; if all that goes to foreign pockets for foreign art is
+ used for patriotic purposes&mdash;then England will be able to
+ show an operatic turn-over worthy of her supremacy in other
+ spheres. For every Italian household living on opera we
+ will have ten, and prosperity will reign where, so far, art and
+ an artistic education have brought only bitter disappointment.
+ I am writing of "Music as a profession" in England. The
+ multiplication of our music schools seems to be accepted as a
+ great matter of congratulation, and we are perpetually hearing
+ the big drum beaten over the increasing number of students
+ to whom a thorough musical education has been given; but
+ who asks what becomes of them all? Oft-met advertisements
+ offering music lessons at 6d. an hour are perhaps an answer.
+ It would be profitless to pursue this topic, but all will agree
+ that it is far better to sing in an operatic chorus at 30s. or
+ &pound;2 per week than be one of the items in a panorama of
+ vanished illusions and struggling poverty, the true spectacle
+ of the singing world in London.</p>
+
+<p>The establishment of National Opera in England,
+ putting artistic considerations aside, presents the following
+ material and commercial advantages, viz., provision
+ of permanent employment for artisans, mechanics, workmen
+ and manual labourers; an impulse to various special <span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>industries,
+ some developed, some improved, others created;
+ an honourable occupation to hundreds kept out, so far,
+ from an exclusive and over-crowded profession, and a
+ provision for old age. In other words, the solution of
+ the operatic problem in England might prove a step
+ towards the solution of a part of the social problem.</p>
+
+<p>That my scheme for the establishment of an English
+ National Opera House is perfect, I do not claim for a
+ moment. That my plans might be qualified as visionary
+ and my hope of seeing a national art called to life
+ through the means I advocate considered an idle dream is
+ not unlikely.</p>
+
+<p> But my conviction in the matter is sincere, and I can
+ meet the sceptics with the words of the old heraldic
+ motto which apologises for the fiction of a fabulous
+ origin of a princely house: <i>etiamsi fabula, nobilis est</i>.</p>
+
+<br /><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+<br />
+<br /><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+<br />
+
+<h2>OPERA FOR THE PEOPLE</h2>
+
+<br />
+<br />
+<br /><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+<br />
+
+<h2>Opera for the People</h2>
+<br />
+
+ <i>The ceremony of opening a new organ, the gift of
+ Mrs Galloway, was performed by Mr W. Johnson
+ Galloway, M.P., in the City Road Mission Hall, Manchester,
+ on Friday evening, September 6, in the presence
+ of a crowded gathering. A Recital was given by Mr
+ David Clegg.</i>
+
+ <i>Mr Galloway, M.P., who took the chair, in opening
+ the proceedings, said</i>:&mdash;On an occasion such as this, it
+ will not, I am sure, be deemed superfluous if I take a
+ brief bird's-eye view of the history of music, and in a&mdash;comparatively
+ speaking&mdash;few sentences trace its progress
+ towards the position it now holds among the arts of
+ modern life. Music, in one form at least, has been with
+ us since the creation of man, for we may reasonably
+ believe that in his most elementary stage, he discovered
+ some vocal phrases which gave him a certain rude
+ pleasure to repeat, or chant, in association with his
+ fellows. Travellers, who have penetrated the confines of
+ remote and savage countries, have told us of the curious
+ <span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>chanting of their inhabitants when engaged in what, to
+ them, were their religious and festal celebrations; and as
+ we cannot conceive man in a more primitive condition, we
+ may take it, that in prehistoric times there was a limited
+ melodic form, which afforded that peculiar delight to the
+ savage mind, that the glorious polyphonic combination of
+ to-day, give to the cultured races of Eastern and Western
+ civilisation.
+
+ Our slight knowledge of the art, in its early state we
+ owe to such records, as have been handed down to us
+ from that which may be termed the golden era of civilisation
+ in Egypt. Long before the sway of the Ptolemies&mdash;ages
+ before Cleopatra took captive her Roman Conqueror&mdash;music
+ formed not only an indispensable part in
+ religious and State functions, but entered largely into the
+ social life of the people, and of this there is indisputable
+ evidence in the hieroglyphics and carvings, to be found
+ on the seemingly imperishable monuments, which the researches
+ of arch&aelig;ologists have revealed to the knowledge
+ of man.
+
+ Of ancient Hebrew music we do not know much, but
+ we may assume, that during the Captivity they learned not
+ a little from their Egyptian masters, although it does not
+ appear&mdash;judging from the harsher and more blatant
+ character of their instruments&mdash;that they attained the
+ <span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>degree of refinement achieved by the Egyptians. It
+ would seem, from the many allusions contained in the
+ Bible, that the Jews were more particularly attracted
+ towards the vocal, rather than the instrumental, side of
+ the art. Many a familiar biblical phrase will probably
+ crop up in our mind. The psalms that are sung during
+ Divine Service teem with such references. "O sing unto
+ the Lord a new song," "How shall we sing the Lord's
+ song in a strange land?" are sufficient to illustrate my
+ meaning, and among the daughters of Judea such names
+ as Miriam, Deborah, and Judith, are especially known to
+ us for their accomplishment in the vocal art, and as
+ examples of the manner, in which it was cultivated by
+ the women of Israel.
+
+ Among the ancients, however, the Greeks most assuredly
+ had the keenest perception and appreciation of the beauties
+ and value of music. In the Heroic age it played a
+ significant part in their sacred games, and for a man to
+ acknowledge an ignorance of the principles of musical
+ art, was to confess himself, an untutored boor. In the
+ great tragedies of Sophocles and Euripides it figured
+ largely both vocally and instrumentally, and, even as the
+ Welsh have their Eisteddfod, so the classic Greeks had
+ their competitions, in which choirs from various cities
+ strove for vocal supremacy and the honours of prize-winners.
+
+<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> That other great race of ancient times which fattened
+ on the spoils of Europe and Asia&mdash;I refer to the Romans&mdash;treated
+ the art with less concern, and employed it in
+ a cruder form at the celebration of their victories and
+ Bacchanalian revels. They did little or nothing to foster
+ or develop it, although it is said that one of their most
+ famous&mdash;or perhaps it would be better to say infamous&mdash;rulers
+ was so devoted to music, that he fiddled while
+ his capital was burning. But we may reasonably have
+ our doubts as to Nero's claim to rank as the Sarasate of
+ his time, for although he made public appearances as a
+ virtuoso in his chief cities, and challenged all comers to
+ trials of skill, the importance of his recorded victories is
+ somewhat diminished, by the fact, that his judges were
+ sufficiently wise in their generation, to invariably award
+ him the honour of pre-eminence. It is a prudent judge
+ who recognises a despotic Emperor's artistic&mdash;and other&mdash;powers.
+
+ With the dawn of Christianity came a new era in
+ the art, and in the 4th century, we find that a School
+ of Singing was established at Rome, for the express
+ purpose of practising and studying Church music. It
+ was not, however, until another couple of centuries had
+ elapsed, that the sound of music based on definite laws
+ was heard beneath an English sky. You have to travel
+ <span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>back in mind to that memorable procession of devoted
+ monks, which, under the leadership of the saintly
+ Augustine, wended its way into the little city of Canterbury,
+ singing its Litany of the Church, and startling
+ Pagan Britain with its joyful alleluia. Slowly, very
+ slowly, the art progressed, but four more centuries were
+ to pass before it was established on anything like a true
+ scientific basis, and it is such men as Hucbald, a Flemish
+ monk, Guido D'Arezzo and Franco of Cologne who
+ laid the foundation of our whole system of polyphonic
+ music.
+
+ Before, however, I touch on that broader expanse, the
+ era of the Flemish School, which began to attain noteworthy
+ prominence in the early years of the 15th century,
+ it would be as well, perhaps, to dwell for a few moments
+ on the history of the noble instrument which is the cause
+ of our foregathering here to-day. In a very early chapter
+ in the Book of Genesis we are told that Jubal was "the
+ father of all such as handle the harp and the organ," and
+ therefore he ranks in history as the first teacher of
+ music. It is commonly asserted, that the emoluments
+ of the modern organist do not come well within the
+ designation of "princely," and, judging from the limited
+ population in those Adamite days, we may well assume
+ that Jubal's living was almost as precarious as those worthy
+<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> Shetland Islanders who depended for their subsistence
+ on washing one another's clothes. With wise forethought,
+ however, Jubal's brother had devoted himself to engineering.
+ "He was the instructor of every artificer in brass and
+ iron," and therefore, we may conclude there was money
+ in the family, and that the man of commerce was generous
+ to the man of music, even as we of to-day are ever
+ ready to respond to the demands for assistance, on behalf
+ of our local choral societies, and musical organisations.
+ But it must not be supposed, that the organ presided over
+ by Jubal bore any resemblance whatever, to the stately
+ instrument, which will now voice its glorious tone within
+ these walls, for the first time in public. The primitive
+ organ of mankind has its present-day affinity in the
+ charming instrument, which, in the hands and mouth of a
+ precocious juvenile, has such a powerful and stimulating
+ effect on the cultivated ears and sensitive nerves of the
+ modern amateur.
+
+ It is not possible for me to go into any detail, with
+ regard to the slow and marvellous development of that
+ triumph of human skill, which is truly known as the king
+ of instruments. From those simple pieces of reed, cut
+ off just below the knot, which formed the pipes of the
+ syrinx, to the complicated, elaborate and perfect machinery
+ which is hidden beneath the organ case there, is the same
+ <span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span>degree of difference, as there is between the rough-hewn
+ canoe of the savage, and the wonderful perfection of the
+ liners, which run their weekly race across the broad
+ Atlantic. It was not until the end of the 11th century,
+ that the first rude steps were taken towards the formation
+ of the modern keyboard; then it was that huge keys or
+ levers began to be used, and these keys were from 3
+ to 5 inches wide, 1-&frac12; inches thick, and from a foot and
+ a half to a yard in length. Nevertheless, even the
+ organ of the 4th century had its impressive powers, if
+ we may place reliance on words attributed to the
+ Emperor Julian, the Apostate, who wrote: "I see a
+ strange sort of reeds; they must, methinks, have sprung
+ from no earthly, but a brazen soil. Wild are they, nor
+ does the breath of man stir them, but a blast leaping
+ forth from a cavern of ox-hide, passes within, beneath
+ the roots of the polished reeds; while a lordly man, the
+ fingers of whose hands are nimble, stands and touches
+ here and there, the concordant stops of the pipes; and
+ the stops, as they lightly rise and fall, force out the
+ melody."
+
+ And in its growth, as in the growth of young children,
+ the organ has had its share of infantile vicissitudes. Even
+ as late as the 13th century it lay under the ban of
+ the ecclesiastics, and was deemed too profane and scandalous
+ <span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>for Church use. Again, in 1644, Parliament issued an
+ ordinance which commanded "that all organs and the
+ frames and cases wherein they stand in all Churches and
+ Chappells aforesaid shall be taken away and utterly defaced,
+ and none other hereafter set up in their places." "At
+ Westminster Abbey," we are told, "the Soldiers broke
+ down the organs and pawned the pipes at several Ale
+ Houses for pots of Ale." It is difficult to understand this
+ opposition to the organ, more especially as David in the
+ last of his psalms enjoined the people "to praise God
+ with stringed instruments and organs." True, indeed, Job,
+ in one of his most pessimistic moods, placed it on record
+ that "the wicked rejoice at the sound of the organ," but
+ evidently Job had no soul for music&mdash;was so unmusical,
+ in fact, that he is worthy to be associated with a certain
+ eminent divine of the English Church, whose musical
+ instinct was so deficient that he only knew "God Save the
+ Queen" was being sung by the people rising and doffing
+ their hats.
+
+ Before touching upon that scientific development of
+ the art, which, broadly speaking, began with the advent
+ of the Flemish School and reached its culminating point
+ within the rounded walls of Bayreuth, we may well give
+ a moment's consideration to those melodies, which travelled
+ their unwritten way through the early Middle Ages, and
+ <span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>which we know, by the few examples that have come down
+ to us, to have been racy of the soil that gave them birth;
+ the folk song of the country is more characteristic of its
+ people, of their temperament and psychology, than any
+ other attribute of their national existence. We, in England,
+ have little enough to point to in this way; in a sense
+ there is nothing peculiarly individual in our music as a
+ whole. But with the old melodies of Ireland, that ever
+ seem to tremble between a tear and a smile, and in the
+ quaint pathos of Scotland's airs, and the well-defined
+ beauty of typical Welsh songs, we recognise the true
+ speech of the heart and the outpouring of the natural man.
+ Germany is still richer in its folk music, and the Pole
+ and the Russian, the Hungarian and the Gaul, can each
+ point to a mine of original melody which has provided
+ latter-day composers with the basis of their most beautiful
+ works. Nor must the importance of the Troubadours
+ and Minnesingers be overlooked in reference to this
+ interesting phase of musical art. They it was who kept
+ alive and spread abroad the traditional songs of the people,
+ and by their accomplishment actually worked as an
+ educational force on the people themselves. Readers of
+ Chaucer will bear in mind many an allusion to the minstrel's
+ art of his period, and well through the Norman and
+ Plantaganet epochs.<br />
+
+<br />
+<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+<div style="margin-left: 25%; margin-right: 20%;">
+ "With minstrelsy the rafters sung,<br />
+ Of harps, that from reflected light<br />
+ From the proud gallery glittered bright<br />
+ To crown the banquet's solemn close,<br />
+ Themes of British glory rose;<br />
+ And to the strings of various chimes<br />
+ Attemper'd the heroic rhymes."</div>
+<br />
+
+To the Flemish, or Netherland School of music we owe an art system, that
+exercised a potent influence on every form of composition, and
+counterpoint was the especial study of its followers, until, as
+invariably happens, technical skill was regarded with a greater degree
+of favour than genuine inspiration. But the School unquestionably
+produced a vast number of very fine masses, motets, and much fine
+service music. Then from Belgium the musical spirit travelled to Italy,
+and before the 16th century had fulfilled half its appointed course, the
+powers of Palestrina had indelibly stamped Italian art, and his genius
+had elevated the ecclesiastical music of the age, to the lofty standard
+of its associations. Then such musicians came to mind as Monteverdi and
+Carissimi, the latter of whom made clear the path, for those great
+writers of oratorio, whose names we hold in such reverence, and whose
+works we love with such unwavering devotion.
+
+German art was late in the field, and correspondingly slow in the
+earlier stages of its development; thus we owe it <span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>little as a pioneer
+in the art. But when the Teuton burst upon the world in all his
+greatness, he first came in the colossal personality of John Sebastian
+Bach, and then followed Haydn, Mozart and Beethoven, to be succeeded by
+others, who were well qualified to take unto themselves the mantles of
+their predecessors. Perhaps, however, I have done early German art some
+injustice, for it must not be forgotten, that to the era of the great
+Reformation, we owe those Lutheran chorales, such as the famous <i>Ein'
+feste Burg</i>, which were as effective in stirring and encouraging the
+rank and file of the reformers, as were the thrilling words of Luther,
+and his earnest and enthusiastic fellow-workers. And it was due to the
+custom of accompanying these chorales, that Germany owned, before the
+end of the 17th century, the finest school of organists in Europe.
+
+English music has always leaned more towards the sacred, than the
+secular side of the art. The names of Marbecke, Thomas Tallis, Byrd,
+Farrant, Gibbons, Lawes, Blow and Purcell are known to every choir-boy
+and village chorister. Their anthems and chants are part and parcel of
+the musical programme of every parish church, and the fine example, set
+by these Elizabethan and Stuart writers has been well followed, by
+Croft, Weldon, Boyce, and nearer, and belonging to our own times,
+Wesley, Goss and Sullivan. And it is the sacred in music, which to-day
+makes the strongest appeal <span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>to the heart of the English nation. In the
+congregational singing in churches, in the overwhelming attention which
+an English audience will bestow on such an oratorio as the <i>Messiah</i>, we
+realise that a chord is struck, which vibrates through the whole of our
+being, which lifts us into a state of semi-exultation, and moves us like
+the words of some great statesman. I will not discuss the question, of
+whether a drama or an opera has most power over its audience, but I will
+fearlessly affirm, that apart from the drama there is no art that has
+the same soul-stirring influence, as the art of music. The simple
+harmonies of our Anglican hymns suffice for the untaught peasant, and
+the broad sweep of a Handelian chorus holds captive musical amateurism.
+But there is a music that reaches to higher heights, embraces within its
+sphere a wider domain, and goes deep down into the mysteries of
+nature&mdash;into the abysses of the soul; but such music is an open book
+only for the musical student. It lives. It exists. It swells through the
+length and breadth of the land; and year by year its influence
+increases, its power becomes more dominant, and its glowing beauties
+more vividly appreciated. People are beginning to comprehend the
+wondrous message, sent to us by such composers as Ludwig Beethoven, and
+Richard Wagner. They are beginning to understand the voice of that most
+marvellous of all instruments&mdash;more marvellous than the organ itself,
+<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>for its keyboard is human brains, and its stops are human hands. I mean
+the modern orchestra. The world's finest music has been written for that
+instrument; the divinest melodies have been given it to interpret, and
+the most significant factor in the English art life of the present is
+the growing enthusiasm with which music, in its highest and most
+abstract form and beauty, is listened to, by those who, in political
+phraseology, are summed up in that terse and comprehensive expression
+"The Masses."
+
+I look with much greater confidence to music, than I do to Parliament,
+for the means of preventing crime and intemperance&mdash;indeed, as one of
+the most permanent cures of all vice and discontent. Much has been done
+in later years by local authorities, towards enabling the public to have
+within easy and reasonable reach such music as can be provided by bands
+and local orchestra. But this is only the beginning. I trust the day may
+not be far distant, when local authorities will see their way to
+providing at cheap prices the best of operas, as is done so largely on
+the Continent of Europe. We rightly and wisely provide libraries,
+technical schools, and many other forms of instructive recreation, but
+why are we in England to lag behind other countries in providing that
+most instructive form of entertainment&mdash;namely, opera. I have never
+known a true lover of music who was not a good citizen. And what a
+preventive against idleness, the <span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>cause of so much crime. Once produce
+opera at a price which all can afford to pay to hear, and can anyone
+doubt, that many a man and woman will choose it, in preference to an
+evening in a public-house or a music-hall. I never remember listening to
+an opera, however poor or badly performed, that I have not gained some
+strength with which to continue the desperate struggle of the battle of
+life&mdash;which is very much more than I can say, for instance, for speeches
+in the House of Commons. He who loves music has a servant at his command
+which will ever render him willing and delightful service; he who loves
+music brings himself into subjection, to one of the most elevating and
+purifying influences of civilisation, and he who loves music and will
+practise it, becomes a valuable and agreeable factor in the social life
+of the community. There are no selfish restrictions in music. The
+painter must keep himself to his canvas, and the actor to his stage, but
+singers and instrumentalists have a standing in the humble parlours of
+the poor, and in the luxuriously-upholstered drawing-rooms of the rich;
+they have a coign of vantage in the choir stalls of churches and on the
+platforms of concert halls. Music offers her favours alike to the modest
+reader of the Tonic Sol-fa Notation, and to the pianist who can master
+the difficulties of the Beethoven Sonatas. The chorus singer enjoys the
+same measure of gratification as the leading soloist, and the <span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>student
+with his score in his hand is just as great a king as the conductor.
+
+In speaking briefly on such a vast and interesting subject, one must
+necessarily leave volumes unsaid that ought to be said. I have but
+casually touched on the beginnings of musical art, and the utmost I can
+hope for is that I have succeeded in arousing some degree of curiosity
+in the minds of those, who have shown but little regard for musical
+literature, and which will have the effect of ultimately leading them to
+devote more of their time and attention to good musical performances.
+
+<br />
+<br />
+<br />
+<br />
+<hr style="width: 45%;" />
+<p class="cen"><i>Colston &amp; Coy. Limited, Printers, Edinburgh.</i></p>
+
+<br />
+<br />
+<br />
+<br />
+
+<div class="tr">
+<p class="cen"><a name="TN" id="TN"></a>Transcriber's Note</p>
+<br />
+
+Typographical errors corrected in the text:<br />
+<br />
+Page&nbsp;&nbsp;&nbsp;  9&nbsp;  Manteverde changed to Monteverdi<br />
+Page&nbsp; 14&nbsp;  snnshine changed to sunshine<br />
+Page&nbsp; 31&nbsp;  threatre changed to theatre<br />
+Page&nbsp; 45&nbsp;  Othello ochanged to Otello<br />
+Page&nbsp; 75&nbsp;  genuis changed to genius<br />
+Page&nbsp; 75&nbsp;  Monteverde changed to Monteverdi<br />
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Operatic Problem, by William Johnson Galloway
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+Project Gutenberg's The Operatic Problem, by William Johnson Galloway
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Operatic Problem
+
+Author: William Johnson Galloway
+
+Release Date: November 12, 2010 [EBook #34302]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE OPERATIC PROBLEM ***
+
+
+
+
+Produced by Barbara Kosker and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+ THE OPERATIC PROBLEM
+
+
+
+
+ By
+
+ W. JOHNSON GALLOWAY, M.P.
+
+
+
+
+ [Illustration]
+
+
+
+
+ London
+ John Long
+ 6 Chandos Street, Strand
+ 1902
+
+
+
+
+Preface
+
+
+Last autumn, having to speak at an organ recital given by my friend Mr
+Clegg, I took the opportunity of giving what encouragement lay in my
+power, to the Corporation of my native town, in an endeavour they had
+made during the summer months to provide suitable music in the various
+parks throughout the city. To my great surprise that speech was quoted
+in journals, of all shades of opinion, in the country, and brought me
+also a vast correspondence.
+
+A copy of the speech will be found at the end of this book.
+
+As I have long desired that Opera should be placed within the reach of
+those, whose purses are not able to bear the strain of the high prices
+charged in England, and having some leisure before Parliament met this
+year, I made inquiries regarding the various systems of running Opera on
+the Continent of Europe. I obtained a vast mass of most interesting
+information. How to make the best use of that information was my
+difficulty. It was much too bulky to compress into the narrow limits of
+a magazine article, and besides, much of it had no peculiar interest for
+us in this country.
+
+My chief desire was to put it before the public in a form that would
+arouse interest in the subject. Also, I realised that this information,
+however valuable, was like the desert, in its unwieldy form, and without
+any attempt to outline the conclusion to which it led. So after much
+trepidation of thought I determined to run the gauntlet and march right
+up to the cannon's mouth with a scheme of my own for the establishment
+of a system for National Opera in this country.
+
+This little book is the result of my efforts, and though I do not
+pretend that it offers a complete solution of the question, still less
+that it gives a _coup de grace_ to the schemes of those who have trodden
+the same path before me, I do hope it may help to call into existence
+some plan for the foundation of Opera upon a popular basis.
+
+To my critics--and many I shall have--I venture to say that, however
+much they disagree, they should remember I lay no claim to completeness,
+and I will gladly welcome any suggestions thrown out with a real desire
+to perfect my very imperfect ideas.
+
+But there are two forms of criticism I wish to meet in advance.
+
+The first is the criticism of those, who will say it is useless hoping
+to get public money for a luxury, whilst the nation is engaged in a
+costly war. I frankly and freely admit the force of such criticism, but
+I would urge in reply that a proposal like mine has far to travel,
+before it takes its final shape, and one cannot hope to get Parliament
+to take the matter up until the subject has been fully ventilated in the
+country. And although at such a time our first thoughts should be given
+to those who are fighting our battles in the field, surely no harm, and
+possibly much good, may come from considering how we can deal with the
+social problems which confront us.
+
+The second form of criticism is perhaps more easily met, namely, the
+criticism of those who look upon all theatres and opera houses as
+vicious and _contra bonos mores_. This battle was fought by Moliere in
+the seventeenth century. Prescott, in his delightful essay on Moliere,
+tells us what difficulties that author had to face at the beginning of
+his career on these very grounds. The clergy, alarmed at the then
+rapidly-increasing taste for dramatic exhibitions, openly denounced the
+theatre as an insult to the Deity, and Moliere's father anticipated in
+the calling his son had chosen no less his spiritual than his temporal
+perdition. Yet who is there to-day who will deny that Moliere helped to
+correct the follies of his age, by exposing them to ridicule? And if in
+providing National Opera for the people, we can assist in the higher
+education of the community, we may well ask those who object on the
+grounds I have named, to remember that "there is no felicity upon earth
+which carries not its counterpoise of misfortunes," and that the evils
+they fear are not inherent only to the stage, but also exist in almost
+every other walk of life.
+
+
+
+
+[Illustration]
+
+The Operatic Problem
+
+
+Opera has, since its origin, been considered the highest form of
+theatrical pastime. The very appellation "opera" indicates that in the
+land of its birth it was looked upon as the "work" _par excellence_, and
+to this day it is the form of Art which is invariably honoured by
+exalted patronage, and one that people pay the most to enjoy. It is
+hardly necessary to advance documentary evidence in support of this
+assertion; moreover, it is beyond the scope of this book to marshal all
+the historical facts. My chief consideration will be to deal with the
+prospect of National Opera in England, and to take the existing state of
+things as the basis for future action. But some retrospect showing that
+the originators of opera understood its importance, and knew admirably
+how to define its scope, may prove interesting.
+
+The following extract from the preface to Vitali's _Aretusa_, the score
+of which is in the Barberini Library, performed in Rome on the 8th of
+February 1620, is worth quoting in corroboration of the statement:--
+
+"This style of work (opera) is a new style, born a few years ago at
+Florence, of the noble intelligence of Messer Ottavio Rinuccini, who,
+dearly beloved by the Muses and gifted with especial talent for the
+expression of passions, would have it that the power of music allied to
+poetry, tended rather to gather fresh strength from the combination,
+than to suffer diminution in consequence. He spoke of it to Signor
+Jacopo Corsi, Maecenas of every merit and most enlightened amateur of
+music, proving that the mission of music united to poetry should be not
+to smother words with noises, but to help those words to a more eloquent
+expression of passion. Signor Corsi sent for Signor Jacopo Perri and
+Signor Giulio Caccini, eminent professors of singing and counterpoint,
+and after having discussed the subject, they came to the conclusion that
+they had found the means for reaching the desired goal. Nor were they
+mistaken. It is in this new musical style, the fable of Dafne to the
+poem of Signor Ottavio Rinuccini, was composed and performed in Florence
+at Signor Jacopo Corsi's, in the presence of the illustrious Cardinal
+del Monte, a Montalto, and their most serene Highnesses the Grand Duke
+and Grand Duchess of Tuscany. The work pleased them so much that they
+were absolutely bewildered (_attonitidi stupore_). This style of music
+acquired a still greater number of fresh beauties in _Euridice_, a work
+by the same authors, and then in _Ariadne_, by Signor Claudio
+Monteverdi, to-day _Maestro di Capella at Venice_."
+
+Your modern theorist could hardly express his operatic creed with
+greater felicity than the Florentine noble, Ottavio Rinuccini, and the
+whole quotation breathes in its quaint phraseology, the spirit of love
+for all that is new and beautiful in Art, which gave Italy her hegemony
+amongst other nations.
+
+The operatic spectacle, when first imported into France, was a Court
+entertainment for the privileged few, but it soon tempted private
+enterprise, and here, again, its importance, as an attraction, was not
+underrated, for the first _impressario_, one Pierre Perrin, took good
+care to obtain a monopoly for the new style of performances, whilst the
+royal _privilege_ (letters-patent), granted to him, sets out their
+advantages in unmistakable terms.[A]
+
+Therein "Louis par la grace de Dieu," etc., concedes to his "ame et feal
+Pierre Perrin" the exclusive rights of operatic performances throughout
+France, not only that they should contribute to his own recreation, or
+that of the public in general, but chiefly in the hope that his
+subjects, "getting accustomed to the taste of music, would be led all
+but unconsciously to perfect themselves in this the most noble of
+liberal arts." (Que nos sujets s'accoustumant au goust de la musique, se
+porteroient insensiblement a se perfectionner en cet art, l'un des plus
+nobles de liberaux.) These Royal letters-patent were dated 1669,
+demonstrating that two hundred and thirty-two years ago France
+recognised the educational mission of the art of music, and its
+accessibility by the means of opera.
+
+The taste for this new entertainment grew and spread throughout Europe,
+and it is a matter of common knowledge that everywhere the encouragement
+and support came from the highest quarters, always having for its object
+the benefit of the masses.
+
+Thus Italy, France, Germany, Austria, Spain, Russia, Sweden, Norway,
+Denmark, Greece have their endowed or subsidised theatres; they can
+boast of an artistic musical past and operatic tradition, and make a
+proud show of creative and interpreting talent for over two centuries.
+It is equally well known that the patronage thus accorded, always took
+the form of a monetary subsidy granted either by a Sovereign or by a
+municipality--at times for a period of years, at others for a specified
+occasion, sometimes unconditionally, sometimes under certain
+restrictions, now limited to a given figure, then giving the manager
+_carte blanche_. The solicitude and favour shown by the State went at
+times the length of taking a direct interest in the management of an
+opera house, as was the case for a certain period in France.
+
+England alone in civilised Europe remained indifferent, and took no
+active part either in fostering or patronising the new form of art; and
+whilst the spirit of emulation was animating other states and nations
+towards helping native production, England was satisfied to import
+spectacles and performers from abroad, just as she would have imported
+any other commodity. True enough, only the best article was brought
+over, and the best price paid in the highest market. If one could reckon
+up the money thus spent on foreign operatic performances within the last
+hundred years, the figures would prove instructive--instructive, that
+is, of England's foolhardiness in alienating so much national cash,
+without any benefit to the nation, and to the direct detriment of native
+talent. For over a century this country has been the happy
+dumping-ground of Italian opera and Italian singers and dancers; for
+there was a time when a ballet and a _prima ballerina_ were of paramount
+importance in an operatic season. Within late years French, Belgian,
+German, American, Polish and even Dutch singers have found their
+El-Dorado in England. Composers of all nations have found hospitality
+and profit. Foreign conductors, _virtuosi_, teachers and chorus-singers
+have taken up a permanent abode here, and things have come to such a
+pass that one may well wonder whether there is any room at all for an
+Englishman, and whether the time has not arrived for a voice to be
+raised on behalf of native artists and native art.
+
+It is not as though native opera had failed to show signs of life. Our
+failure to create a body of art comparable with that of Germany, Italy
+and France has sometimes been attributed to inherent lack of the
+dramatic instinct in music, but that view is contradicted by the
+historical facts. From the time of Purcell, whose operatic genius is
+beyond question, neither the impulse to write on the part of musicians
+nor the capacity to appreciate on the part of the public has been
+lacking. We find throughout the eighteenth and nineteenth centuries,
+breaking through the stifling influence of exotic art, an irrepressible
+tendency towards the creation of a purely native form of opera. Again
+and again English or British composers returned to the task with
+significant, if temporary, success. The list is surprisingly large and
+almost continuous down to the present day. It includes many forms of
+art, some of which have no pretension to a high standard, but the one
+thing common to them all is the yearning towards some sort of musical
+drama which they exhibit. This is seen in nothing more plainly than in
+the "ballad operas" of the eighteenth century, which were inaugurated by
+the immensely popular _Beggar's Opera_ in 1728, only some thirty years
+after Purcell's flourishing period. A string of ballads took the public
+by storm when thrown into a dramatic setting. Arne's ambitious project
+of building up in the middle of the century an English operatic school
+to rival the Italians in their own domain indicates an instructive
+confidence in the forces of his day. It failed not so much from lack of
+support as from active opposition on the part of those undying enemies
+of the unaccustomed, who play the game of follow-my-leader like a flock
+of sheep. They did it then. They do it now.
+
+This failure did not deter Arne's successors from freely following their
+own operatic bent, in the earlier and less ambitious style. The
+agreeable and distinctive national talent of Dibdin, Arnold, Linley,
+Shield, Horace, Hook, Braham and many others found expression in a host
+of musically set plays, which hugely delighted the public. English
+musicians received encouragement and responded to it. The 1809 English
+Opera House produced a quantity of works, and at the same time Drury
+Lane and Covent Garden offered a field of activity to Bishop, who was a
+born operatic composer of charming and original gifts. To this period
+belongs Balfe, who may be said to mark its culmination. The _Siege of
+Rochelle_, his first opera, was brought out at Drury Lane in 1835, and
+the _Bohemian Girl_, his most successful one, in 1843 at the same
+theatre. This opera has been before the public for nearly sixty years,
+and is still enjoying the undiminished favour of popular audiences.
+Wallace's _Maritana_, which belongs to the same period, is also very
+much alive to this day. Barnett's _Mountain Sylph_ (1834) and Loder's
+_Night Dancers_ (1846) met with as much success and lasted as long as
+four out of five contemporary Italian works, and they were only amongst
+the most prominent of a number of native operas, called forth in this
+period of sunshine and received with appreciation.
+
+This period passed away, and has not been renewed. The promise held out
+by Carl Rosa, an _impressario_ of enlightenment and enterprise, almost
+amounting to genius, was baulked by his premature death, and the
+patriotic effort embodied, in the theatre which is now the Palace Music
+Hall ended in worse than failure. That well-meant but disastrous venture
+was the heaviest blow that English opera has ever received, for it cast
+the shadow of hopelessness over the whole enterprise in the eyes of the
+public in general and the theatrical and musical world in particular.
+Naturally perhaps, but most unjustly.
+
+For the general disappointment and disillusion attending the failure of
+_Ivanhoe_ the critics were largely to blame in holding out expectations
+which could not be realised; the thing was doomed to eventual collapse
+from the outset. It started, it is true, with an unparalleled
+advertisement and amid universal good wishes; it commanded popular and
+fashionable patronage alike, and every adventitious attraction was
+provided with a lavish hand. But it lacked the essential elements of
+real success, and had to fight against insuperable difficulties. In the
+first place, the stage was far too small for grand opera, which moves in
+a large way, requiring large spaces. The principal characters must stand
+out clear, with abundant room for movement and gesture on a heroic
+scale. If they are huddled or crowded up against the chorus--which also
+requires ample space--the action is confused and leaves an impression of
+futility. The effect is gone. This might not altogether prevent
+enjoyment of a familiar work by audiences accustomed to small theatres,
+but it ruins the chances of a new piece conceived on a larger scale, and
+presented in London to playgoers accustomed to more adequate boards. The
+stage at the ambitious New Opera House was so small, and the
+foreshortening so excessive in consequence, that in the opening scene of
+_Ivanhoe_ Cedric and his guests actually sat at meat in Rotherwood Hall
+with their knees above the table, producing a ludicrous effect. And yet
+the piece was projected on the most pompous scale, with tournament,
+siege, fire, solemn trial, battle, murder and sudden death--in short,
+all the details that require the most ample spaces. The reporters were
+told, of course, that the stage was the largest in Europe, and they may
+possibly have believed it. At any rate, they told the public so. They
+ought to have known that _Ivanhoe_ had no chance so cramped and huddled
+together.
+
+The second obstacle was the counterpart of an inadequate stage--to wit,
+an overloaded book. There were too many principal characters. They
+cluttered up the stage, got in each other's way and distracted attention
+from the main action. A skilful novelist can dispose of a great many
+characters in one story; a skilful dramatist can put fewer but still a
+good many into one play, because they are able to explain themselves
+quickly and by-play is admissible. In grand opera it is otherwise. The
+characters move on a higher emotional plane; they express themselves in
+prolonged phrases and accents enlarged beyond the manner of speech,
+consequently they require more time and space. It must all be simple,
+large and clear. There must be no distraction of interest; to have
+several persons of equal importance is fatal. No musician could have
+made a successful opera of such a book as _Ivanhoe_. The talent, skill
+and experience of Sullivan did not fail to produce some agreeable
+numbers, but they failed most egregiously to make grand opera. A
+perpetual sense of disappointment pervaded the piece; it never rose to
+the height demanded by the situation, save when that was comic, and
+occasionally the failure was absolutely painful. The music kept trying
+to soar, but was all the time chained by the leg. The reason is obvious.
+You cannot serve two masters, nor can a man who has devoted a life to
+light musical composition, suddenly command the powers which can only be
+won by toil, and tribulation, and faithful devotion to a high ideal. To
+crown this fabric of shortcomings, the management committed the folly of
+running _Ivanhoe_ every night. No masterpiece could have stood a test of
+this kind. And it was thus, with this single unfortunate specimen, that
+English opera was to be established. Let no one be cast down by this
+failure. We may rather point to the attempt, to the widespread interest,
+and to the eager if ill-founded hopes that accompanied it, as signs of
+vitality. They indicate the existence of a demand, while the recurrent
+efforts of recent, and of still living composers--of Goring, Thomas,
+Corder, Stanford, Cowen, Mackenzie, M'Cunn and De Lara--prove that the
+dramatic instinct has not departed from British composers, and that it
+is not hopeless to look for a supply in answer to the demand. The seed
+only needs systematic encouragement, and intelligent cultivation to bear
+fruit. I firmly believe that the time is ripe for such encouragement to
+come from an official sphere; in other words, I advocate State
+intervention in the matter, and the establishment of a subsidised
+national opera house on the lines successfully adopted in other
+countries. And that we may profit by the experience of others, let us
+examine how continental nations fare under the aegis of State-aided Art.
+
+Italy, Germany and France present the most characteristic instances, and
+I will take a bird's-eye view of the operatic machinery in them,
+beginning with Italy.
+
+FOOTNOTES:
+
+[A] Here is an extract of this _privilege_:--"Nous avons au dit
+Perrin, accorde et octroye, accordans et octroyons par les presentes
+signees de notre main la permission d'etablir en notre bonne ville de
+Paris et autres de nostrec Royaume, des Academies composees de tel
+nombre et qualite de personnes qu'il avisera, pour y representer et
+chanter en public des opera et representations en musique et en vers
+francais, pareilles et semblables a celles d'Italie. Et pour
+dedommager l'Exposant, des grands frais du'il conviendra faire pour
+les dites Representations, tant pour les Theatres, Machines,
+Decorations, Habits qu'autres choses necessaires; nous luy permettons
+de prendre du public telles sommes qu'il avisera et a cette fin
+d'etablir des gardes et autres gens necessaires a la porte des lieux
+ou se feront les dites Representations; Faisant tres expresses
+inhibitions et defences a toutes personnes de quelque qualite et
+condition qu'elles soient, _mesme aux officiers de nostre Maison d'y
+entrer sans payer, et de faire chanter de pareils opera ou
+Representations en musique et en vers francais_ dans toute l'entendue
+de nostre Royaume pendant douze annees sans le consentement et
+permission du dit exposant, a peine de dix huit mil livres d'amende,"
+etc., etc.
+
+
+
+
+Italy
+
+
+There are about five hundred theatres in Italy, and quite one half of
+these have seasons of opera at various times of the year. The
+traditional Italian operatic season begins on the 26th December of each
+year at San Stefano Day, and is called the Carnival Season; then follows
+Quaresima or Lent Season and Primavera or Spring Season--altogether some
+five months of opera. Besides these there exist (_stagioni di fiere_)
+short seasons of one or two weeks' duration, at the time of certain
+famous fairs. There are autumn seasons, and sporadic performances at
+fashionable summer and bathing resorts. I am quite within strict
+probability in asserting that in Italy two hundred odd theatres are
+devoted to opera the whole year round. These theatres may be briefly
+divided into two classes--municipal and private ones. The latter are run
+very much on the same lines as private theatres anywhere else, and do
+not come within the scope of my consideration.
+
+The State does not interfere in any way with Italian theatres, and such
+help as these receive comes either from municipalities, or especially
+formed associations of institutions linked by common interest with the
+working of a theatre. But the principle of such help is always that of
+an act performed for the public good, or, as it is officially termed,
+_per ragioni di pubblica utilita_, and it naturally takes the form of a
+monetary subsidy. This suesidy varies according to the importance of the
+theatre, the rank of the city, the prospects of the season, and its
+grant is altogether opportunistic and at times arbitrary. In the
+majority of Italian theatres boxes are proprietary, and the
+_palchettisti_ (box-holders) have a direct interest and a vote of some
+weight in the prospective arrangements of a season. The _impressario_
+desirous of running an operatic theatre must submit his prospectus to
+the box-holders at the same time he submits it to the municipality from
+which he wishes to obtain his contract, and of course, his subsidy. A
+theatrical board (_Commissione Teatrale_), composed of local
+authorities, and box-holders examines the prospectus, and if the
+decision is unfavourable another plan has to be submitted by the same
+man, or another aspirant, or perhaps the _Commissione_ has a scheme of
+its own. As a rule, stipulations comprise either a novelty or a
+favourite opera, called in this case "obligatory" (_opera d'obbligo_), a
+ballet, or simply a specified number of performances. The length of the
+season varies from eight days (_stagione di fiera_) to two months, the
+repertory may consist of one opera or twenty, whilst the figure of the
+subsidy is anything between L20 and L8000. The average, however, is
+three operas for a medium season of one month--one obligatory, one _di
+repiego_ (for a change) and another, _da de Stinarsi_ (to be selected),
+at the choice of the _impressario_ or in accord with the _Commissione_.
+Five performances weekly are the orthodox number, Mondays and Fridays
+being recognised as days of rest.
+
+If an agreement is arrived at, the _impressario_ is put in possession of
+the theatre for the period stipulated, and sets about running his
+season. He is given but the bare building and seats; he has to provide
+scenery, costumes, orchestra and chorus in addition to his company of
+artists. Sometimes orchestra and chorus are local institutions, and
+there are small places in which the conductor is an _employe_ of the
+municipality engaged for a period of years to play the organ in church,
+teach music at schools, conduct open-air concerts and also the operatic
+season. In such a case a part of the subsidy, equivalent to all the
+salaries, is retained to guard against accidents, or else a sum is set
+apart for that purpose out of a deposit lodged by the _impressario_ with
+the _Commissione_ or the municipality.
+
+The budget of the manager depends on the subsidy and the subscription,
+in which box-holders must perforce participate owing to the system of
+_ingresso_ or entrance ticket--a system which consists in charging so
+much (a uniform price, as a rule) for entrance in addition to the price
+of your ticket. _Ingresso_ simply gives you the right to standing room,
+or you may join some friends in a box of theirs; and this method has
+been devised in view of the _palchettisti_, whose boxes would otherwise
+prove a profitless asset. The _palchettisti_ subscribe to the
+_ingresso_, and the general public to seats and _ingresso_ combined. But
+the _impressario_ does not get his subscription until he has given
+one-half of the stipulated performances. There is a further perquisite,
+called _adobbo_, in some southern Italian theatres--the Naples San
+Carlo, for instance--which brings in a goodish sum of money, and
+consists in charging two francs for attendance in every box. Judging
+from the name _adobbo_, it must be a relic of a time when attendance
+comprised some kind of "fixing" you up in your box. It is nothing of the
+sort to-day, and I am unable to explain why, after having paid for your
+box and _ingresso_, you are charged for the _adobbo_, which seems to me
+first cousin to the obnoxious _petit banc_ in French theatres. Besides
+these two elements, subvention and subscription, the _impressario_ has
+also the resource of raising the prices of seats, and entrance tickets
+how, and when, he pleases during the season, the fluctuation affecting,
+however, non-subscribers only. As a rule, the opening night of the
+season, and the production of a novelty are generally singled out for
+the adoption of this device; but, naturally enough, your manager has
+recourse to the measure, whenever an opera of his proves a sure draw,
+and results, just as much as customs, are there to justify the
+expedient. Should, however, the public fail to respond, the prices are
+lowered with the same alacrity with which they were raised. Thus you may
+have to pay L4 for your stall, say, at La Scala, day after day, or you
+may see on Wednesday for 5 francs (4s.) a performance you would have had
+to pay 100 francs (L4) for had you bought your ticket on Monday.
+
+This principle pervades the uses and customs of the Italian theatrical
+world, and is applicable to the letting of scores by publishers, who,
+untrammelled by such institutions as the Societe des Auteurs in France,
+or special laws as in Spain, can charge what they please for the hire of
+band parts and scores. There is nothing to prevent the publisher of
+_Lucia di Lammermoor_ from letting the music of the opera for 50 francs
+(L2) to an _impressario_ at Vigevano and charging 20,000 francs (L800)
+to another who produces it, say, at the Argentina of Rome, with Melba in
+the title-role.
+
+The music publisher in Italy has a unique position amongst publishers,
+but quite apart from this, he enjoys so many prerogatives as to be
+almost master of the operatic situation in that country. He can put what
+value he pleases on the letting of the score he owns, and has the
+absolute right over the heads of the Theatrical Board to reject artists
+already engaged, including the conductor. He can take exception to
+costumes and scenery and withdraw his score as late as the dress
+rehearsal.
+
+This is called the right of _protesta_. It does not follow that such
+right is exercised indiscriminately, spitefully or frequently, but it is
+sufficient that it exists, and what between the _Commissione Teatrale_,
+the _palchettisti_ and the publisher, the _impressario_ in Italy is not
+precisely on a bed of roses. Still, in spite of such impedimenta,
+Italian opera flourished for well-nigh two centuries, and Italian
+singers, repertory and language were considered all but synonymous with
+every operatic enterprise, during that period. This ascendency lasted as
+long as proper incentives for development of the art were steadily
+provided by responsible bodies; in other words, so long as the great
+theatres of Italy--La Scala at Milan, San Carlo at Naples, Communale at
+Bologna, Apollo at Rome, Fenice at Venice, Carlo Felice at Genoa, Raggio
+[transcriber: Regio?] at Turin, Pergola at Florence, etc.--were in
+receipt of regular subventions. But political and economical changes in
+the country turned the attention of public bodies towards other
+channels, and the radical tendencies of most municipalities went dead
+against the artistic interests of the country. In spite of warnings
+from most authoritative quarters, the opposition, towards subsidising
+what was wrongly considered the plaything of the aristocracy grew apace,
+and the cry became common that if dukes and counts, and other nobles
+wanted their opera, they should pay for it. Subsidies were withdrawn
+here, suspended there, cut short in another place, and altogether
+municipal administration of theatres entered upon a period the activity
+of which I have already qualified, as opportunistic and arbitrary. In
+vain did a great statesman, Camillo Cavour, argue the necessity of
+maintaining at all costs, the time-honoured encouragement, and help to
+pioneers of the Italian opera, bringing the discussion to an absolutely
+practical, if not downright commercial, level. "I do not understand a
+note of music," said he, "and could not distinguish between a drum and a
+violin, but I understand very well that for the Italian nation, the art
+of music is not only a source of glory, but also the primary cause of an
+enormous commerce, which has ramifications in the whole world. I believe
+therefore that it is the duty of the Government to help so important an
+industry." The municipalities remained obdurate, and the start of their
+short-sighted policy coincided with the gradual decadence of Italian
+opera, until this form of entertainment lost prestige, and custom with
+the best of its former clients, England, Russia and France. We know how
+things on this count stand with us. In Russia, Italian opera, formerly
+subsidised from the Imperial purse, was left to private enterprise, and
+all available funds and encouragement transferred to national opera
+houses; whilst in France the reaction is such, that even the rare
+production of an Italian opera in one of the French theatres is
+tolerated and nothing more.
+
+
+
+
+Germany
+
+
+The organisation of theatres in the German Empire is quite different and
+widely different the results! Let us take only the Court theatres
+(Hoftheater), such as the opera houses of Berlin, Munich, Dresden,
+Wiesbaden, Stuttgart, Carlsruhe and Darmstadt in Germany, those of
+Vienna and Prague in Austria, and the municipal theatre of Frankfort.
+
+These theatres are under the general direction of Court dignitaries,
+such as H.E. Count Hochberg in Berlin and H.S.H. Prince von Lichtenstein
+in Vienna, and under the effective management of Imperial "Intendants"
+in Vienna and Berlin, a Royal "Intendant" at Munich, Dresden, Wiesbaden,
+Stuttgart and Prague, Grand-Ducal at Carlsruhe and Darmstadt, and
+municipal at Frankfort.
+
+The "Intendants" do not participate either in the risks or profits of
+the theatre, but receive a fixed yearly salary varying between 20,000
+and 30,000 marks (L1000 to L1500). They have absolute freedom in the
+reception of works, the engagements of artists, the selection of
+programmes and repertory, and are answerable only to the Sovereign,
+whose Civil List provides the subsidy, balances accounts, and
+contributes to the settling of retiring pensions of the _personnel_.
+
+The Berlin Opera House receives a yearly subvention of 900,000 marks, or
+L45,000.
+
+The Vienna Opera House has 300,000 florins (about L25,000) for a season
+of ten months. The deficit, however, if any, is made good from the
+Emperor's Privy Purse.
+
+The King of Saxony puts 480,000 marks (L24,000) at the disposal of Count
+Intendant Seebach. It is interesting to note that in 1897 only 437,000
+marks were actually spent. The orchestra of the Dresden Opera House does
+not figure in the budget, its members being Royal "servants" engaged for
+life and paid by the Crown.
+
+At Munich it is the same, the orchestra being charged to the Civil List
+of the Regent of Bavaria. The cost is 250,000 marks (L12,500), and a
+similar sum is granted to Intendant Possart for the two theatres he
+manages (Hof and Residenz). The season lasts eleven months.
+
+Wiesbaden comes next with a subvention of 400,000 marks, (L20,000)
+granted by the Emperor of Germany as King of Prussia. The season is of
+ten months' duration.
+
+The Court Theatre at Stuttgart is open for ten months, and the Royal
+subvention to Baron von Putlitz, the Intendant, is 300,000 marks
+(L15,000).
+
+The same sum is granted by the Grand Duke of Baden to the Carlsruhe
+theatre for a season of ten months.
+
+The subvention of Darmstadt is only 250,000 marks (L12,500), the season
+lasting but nine months.
+
+The States of Bohemia grant a sum of 180,000 florins (L15,000 odd) to
+the theatres of Prague for a season of eleven months. 100,000 florins
+(L8000 odd) of this sum are destined for the National Tcheque Theatre.
+
+Frankfort, as an ancient free city, does not enjoy the privileges of
+princely liberality, and has to put up with municipal help, which
+amounts to a yearly donation of 200,000 marks (L10,000) for a season of
+eleven months, and then the Conscript Fathers contrive to get one-half
+of their money back by exacting a duty of 30 pfennigs on every ticket
+sold. A syndicate, with a capital of L12,500, has been formed to help
+the municipal institution.--Mr Claar.
+
+The chief advantages of Court theatres consist in a guarantee against
+possible deficit, and freedom from taxes; and this enables the
+Intendants to price the seats in their theatres, in a manner which makes
+the best opera accessible to the most modest purse. The prices of stalls
+in German theatres vary between 3 and 6 marks or 3 to 4 florins. (3s. to
+6s. or 7s). Other seats are priced in proportion, and a considerable
+reduction is made in favour of subscribers. These are simply legion, and
+at Wiesbaden the management have been compelled to limit their number.
+
+The table below, shows at a glance the price of stalls in some of the
+chief German theatres. I give the average figure, the price varying
+according to the order of the row.
+
+  Vienna                   4 fls. (about 7s.)
+  Berlin                   6 mks. (6s.)
+  Munich    }
+  Wiesbaden }              5 mks. (5s.)
+  Frankfort }
+  Prague (Nat. Th.)        3 fls. (about 5s.)
+    "    (German Th.)      2.50 (about 4s.)
+  Dresden   }              4 mks. (4s.)
+  Stuttgart }
+  Darmstadt                3.50 (3s. 6d.)
+  Carlsruhe                3 mks. (3s.)
+
+The subscriptions are divided into four series, giving each the right to
+two performances weekly, but of course anyone can subscribe for more
+than one series. A yearly subscription comprises--at Berlin and Prague,
+280 performances; at Vienna, 260; at Munich, 228; at Wiesbaden, 200;
+and at Frankfort, 188. To subscribers the prices of stalls are as
+follows:--
+
+  Vienna            3 fls. 7 kr. (6s.)
+  Wiesbaden         5 mks. (5s.)
+  Berlin            4.50 (4s. 6d.)
+  Frankfort         3.51 (3s. 6d.)
+  Munich            3.47 (3s. 6d.)
+  Darmstadt         2 mks. (2s.)
+  Prague            1 florin (1s. 9d.)
+
+These figures suffice to prove the colossal benefit princely patronage
+and subvention bestow on the theatre-goer, in putting a favourite
+entertainment within the reach of the masses. Moreover, the German
+opera-goer is catered for both in quality and quantity.
+
+As regards quality, he has the pick of the masterpieces of every school,
+nation and repertory. Gluck, Spontini, Cherubini, Auber, Herold,
+Boieldieu, Mozart, Beethoven and Weber hobnob on the yearly programmes
+with Wagner, Verdi, Mascagni, Puccini, Giordano and Leoncavallo, to cite
+a few names only. As regards quantity, the following details speak for
+themselves--I take the theatrical statistics for the year 1895-1896:--
+
+The Berlin Opera House produces 60 various works--52 operas and 8
+ballets.
+
+The Vienna Opera House 74 works--53 operas and 21 ballets.
+
+The New German Theatre at Prague--45 operas, 11 light operas and two
+ballets.
+
+The Frankfort Theatre--60 operas, 11 operettes, 4 ballets and 13 great
+spectacular pieces.
+
+At Carlsruhe--47 operas and 1 ballet.
+
+At Wiesbaden--43 operas and 6 ballets.
+
+At Darmstadt--48 operas, 2 operettes and 5 ballets.
+
+At Hanover--37 operas.
+
+At the National Theatre, Prague--48 operas and 6 ballets.
+
+At Stuttgart--53 operas and 5 ballets.
+
+At Munich--53 operas and 2 ballets.
+
+At Dresden--56 operas, 5 ballets and 4 oratorios.
+
+These are splendid results of enterprise properly encouraged, and I am
+giving only a fraction of the information in my possession, for there
+are no less than ninety-four theatres in Europe, where opera is
+performed in German, and of these seventy-nine are sufficiently well
+equipped to mount any great work of Wagner's, Meyerbeer's, etc.
+
+Most of these theatres produce every year one new work at least, and
+thus the repertory is constantly renewed and augmented.
+
+Every German theatre has attached to it a "choir school," where girls
+are admitted from their fifteenth year and boys from their seventeenth.
+They are taught _solfeggio_ and the principal works of the repertory.
+The classes are held in the early morning, so as not to interfere with
+the pursuit of the other avocations of the pupils; but each receives,
+nevertheless, a small yearly salary of 600 marks (L30). These studies
+last two years, and during that time the pupils have often to take part
+in performances, receiving special remuneration for their services. When
+they are considered sufficiently well prepared, they pass an
+examination, and are appointed chorus-singers at a salary of 1000 to
+1800 marks (L50 to L90) a year, and are entitled besides to a special
+fee (_Spielgeld_) of 1s. 6d. to 2s. 6d. per performance for an ordinary
+chorus-singer, and 2s. to 5s. for a soloist. If we reckon that a
+chorus-singer, can take part on an average in some 250 performances in a
+year, at an average fee of, say, 2s. each, we find that his income is
+increased by a sum of L25, a very decent competence. Nor is this all. In
+the smallest German towns, in the most modest theatres, there exist
+"pension funds" for all theatrical artists and _employes_. These funds
+are fed:--
+
+      (1.) By a yearly donation from the Sovereign's Privy Purse.
+
+      (2.) By retaining from 1 per cent. to 5 per cent. on the
+      salaries of members.
+
+      (3.) From benefit concerts and performances.
+
+      (4.) From all kinds of donations, legacies, fines, etc.
+
+At Stuttgart the King takes charge of all the pensions, except of those
+of widows and orphans, who are provided for from another fund.
+
+At Munich the King furnishes the original capital with a sum of 200,000
+marks (L10,000), and to-day the fund has over 1,000,000 marks at its
+disposal. Eight years' service entitles a member to a full pension.
+
+At Prague six years' service gains a pension, but the average period
+throughout Germany is ten years.
+
+There are scores of additional points of great interest, in connection
+with the working of German subsidised theatres. The above suffices,
+however, for the purpose of showing the immense advantage of a system of
+State-aided Art, a system that might serve as a model to a country about
+to embark on similar enterprises. I will add one detail more. There
+being no author's society in Germany, as in France, the theatrical
+managers treat with music publishers direct for the performing rights of
+scores which they own. The old repertory costs, as a rule, very little,
+and the rights of new works are charged generally from 5 per cent. to 7
+per cent. on the gross receipts. Moreover, band parts and scores are not
+hired, as in Italy, but bought outright, and remain in the library of
+the theatre.
+
+
+
+
+France
+
+
+In France the State intervenes directly in theatrical matters in Paris
+only, subsidising the four chief theatres of the capital--to wit, the
+Opera, the Opera Comique, the Comedie Francaise and the Odeon.
+
+In the provinces theatres are subsidised by municipal councils, who vote
+each year a certain sum for the purpose. The manager is appointed for
+one year only, subject to his acceptance of the _cahier des charges_, a
+contract embodying a scheme of stipulations devised by the council, and
+imposed in return for the subsidy granted. The least infraction of the
+conditions laid therein brings its penalty either in the way of a fine
+or the forfeit of the contract. The subsidies vary according to the
+importance of the town, the theatres of Lyons, Bordeaux and Marseilles
+being the three best endowed. Less favoured are places like Rouen,
+Lille, Nantes, Dijon, Nancy, Angers, Reims, Toulouse, etc., and, though
+the Chamber of Deputies votes every year in the Budget of Fine Arts a
+considerable sum for the provinces, the subsidy is not allotted to
+theatres, but to conservatoires, symphonic concerts and orpheonic
+societies. Two years ago a Deputy, M. Goujon, obtained in the Chamber
+the vote of a special grant for such provincial theatres as had
+distinguished themselves by producing novelties. But the Senate threw
+out the proposal.
+
+It is not, however, as if the Government of the Republic were
+indifferent to the fate of the provincial theatres or their progress in
+the field of operatic art. But worship of Paris on one side, and a
+dislike to decentralisation on the other, are responsible for the fact
+that all efforts are directed towards one channel, namely, the four
+before-named Parisian theatres. Of these, naturally enough only the
+opera house will engage my attention, or more precisely one alone, the
+Grand Opera House, _La Theatre National de l'Opera_, there being little
+practical difference between the working of that and of the younger
+house, the _Theatre de l'Opera Comique_.
+
+A few words, following chronologically the various stages through which
+the Paris Opera House has passed since its origin, may prove of
+interest, and serve to indicate how untiring has been the care of
+successive Governments over the fortunes and the evolution of the
+operatic problem in France.
+
+It will be remembered that Pierre Perrin was the possessor of the first
+operatic privilege granted by Louis XIV. in 1669. Hardly had he been
+installed when Lulli began to intrigue against his management, and
+having learnt that the profits of the first year amounted to over
+120,000 livres, he had no rest until he obtained, through the influence
+of Mme. de Montespan, the dismissal of Perrin and obtained the post for
+himself. In fifteen years his net profits amounted to 800,000 livres!
+
+He was succeeded by his son-in-law, Francine, who held the privilege
+with various fortunes until 1714, the King intervening more than once in
+the administration. In 1715 the Duc d'Antin was appointed _Regisseur
+Royal de l'Academie_ by letters-patent of the King, who up till then
+considered himself supreme chief of his Academy.
+
+In 1728 the management passed into the hands of Guyenet, the composer,
+who in turn made over the enterprise, for a sum of 300,000 livres, to a
+syndicate of three--Comte de Saint-Gilles, President Lebeuf and one
+Gruer. Though their privilege had been renewed for thirty years, the
+King, Louis XV., was obliged to cancel it owing to the scandal of a
+_fete galante_ the syndicate had organised at the Academie Royale, and
+Prince de Carignan was appointed in 1731 _inspecteur-general_. A captain
+of the Picardy regiment, Eugene de Thuret, followed in 1733, was
+succeeded in 1744 by Berger, and then came Trefontaine, whose management
+lasted sixteen months--until the 27th of August 1794. All this was a
+period of mismanagement and deficits, and the King, tired of constant
+mishaps and calls upon his exchequer, ordered the city of Paris to take
+over the administration of his Academy. At the end of twenty-seven years
+the city had had enough of it, and the King devised a fresh scheme by
+appointing six "Commissaires du Roi pres la Academie" (Papillon de la
+Ferte, Mareschel des Entelles, De la Touche, Bourboulon, Hebert and
+Buffault), who had under their orders a director, two inspectors, an
+agent and a cashier. But the combination was short-lived, lasting barely
+a year. In 1778 the city of Paris made one more try by granting a
+subvention of 80,000 livres by a Sieur de Vismos.
+
+In 1780 the King took back from the city the operatic concession--we
+must bear in mind it was a monopoly all this time--appointing a
+"Commissaire de sa Majeste" (La Ferte) and a director (Berton).
+
+In 1790 the opera came once more under the administration of the city,
+and during the troublous times of the Revolution changed its name of
+Academie Royale to that of _Theatre de la Republique et des Arts_.
+
+By an Imperial decree of the 29th of July 1807 the opera came under the
+jurisdiction of the first Chamberlain of the Emperor, whilst under the
+Restoration the Minister of the King's Household took the
+responsibilities of general supervision. One Picard was appointed
+director under both _regimes_, and was succeeded by Papillon de la Ferte
+and Persius. Then followed the short management of Viotti, and in 1821
+F. Habeneck was called to the managerial chair.
+
+The Comte de Blacas, Minister of the King's Household, became
+superintendent of Royal theatres, and after him the post was occupied by
+the Marquis de Lauriston, the Duc de Doudeauville and the Vicomte
+Sosthenes de la Rochefoucauld. Habeneck was replaced by Duplantis, who
+took the title of Administrator of the Opera. The administration of M.
+de la Rochefoucauld cost King Louis Philippe 966,000 francs in addition
+to the State subvention, and an extra subsidy of 300,000 francs derived
+from a toll levied in favour of the opera on side shows and fancy
+spectacles. This was in 1828, and in 1830 the King, finding the
+patronage of the opera too onerous for his Civil List, resolved to
+abandon the theatre to private enterprise. Dr Veron offered to take the
+direction of the opera house, at his own risk, for a period of six years
+with a subsidy of 800,000 francs, and, with the exception of a period of
+twelve years (1854-1866), the administration of the opera was included
+in the duties of the Master of the Emperor's Household. Both the subsidy
+and the principle of private enterprise have remained to this day as
+settled in 1830. Before then, for 151 years, French opera had enjoyed
+the patronage and effective help of the Sovereign, or the chief of the
+State, very much on the same system as obtains at the present day in
+Germany.[B]
+
+Dr Veron had as successors, MM. Duponchel, Leon Pillet, Nestor
+Roqueplan, Perrin, Halanzier, Vaucorbeil, Ritt and Gailhard, Bertrand
+and Gailhard, and finally Pierre Gailhard, the present director of the
+Theatre National de l'Opera.
+
+The present relations in France between the State and the director of
+the opera are as follows:--
+
+The Paris Opera House, like all other theatres in France, and for the
+matter of that all institutions in the domain of Art in that country, is
+under the direct control and dependence of the Minister of Fine Arts,
+who has absolute power in appointing a director, in drawing up the
+_cahier des charges_, in imposing certain conditions and even in
+interfering with the administration of the theatre. The appointment,
+called also the granting of the _privilege_, is for a number of years,
+generally seven, and can be renewed or not at the wish or whim of the
+Minister. The _cahier des charges_, as already stated, is a contract
+embodying the conditions under which the _privilege_ is granted. Some of
+these are at times very casuistic. As regards interference, one can
+easily understand how a chief can lord it over his subordinate if so
+minded. It is sufficient to point out the anomaly of the director's
+position who is considered at the same time a Government official and a
+tradesman--a dualism that compels him to conciliate the attitude of a
+disinterested standard-bearer of national art with the natural desire of
+an administrator to run his enterprise for profit. Let me cite a typical
+instance. Of all the works in the repertory of the opera, Gounod's
+_Faust_ still holds the first place in the favour of the public, and is
+invariably played to full or, at least, very excellent houses, so that
+whenever business is getting slack _Faust_ is trotted out as a trump
+card.[C] Another sure attraction is Wagner's _Walkuere_. On the other
+hand, a good many operas by native composers have failed to take the
+public fancy, and have had to be abandoned before they reached a minimum
+of, say, twenty performances in one year. Now, when the director sees
+that his novelty is played to empty houses he hastens to put on _Faust_
+or the _Walkuere_, but the moment he does it up goes a cry of complaint,
+and a reproof follows--"You are not subsidised to play _Faust_ or operas
+by foreign composers, but to produce and uphold the works of native
+musicians; you are not a tradesman, but a high dignitary in the Ministry
+of Fine Arts," and so on.
+
+At other times, when in a case of litigation, the director wishes to
+avail himself of the prerogatives of this dignity, he is simply referred
+to the Tribunal de Commerce, as any tradesman. Ministerial interference
+is exercised, however, only in cases of flagrant maladministration, and
+then there are, of course, directors and directors, just the same as
+there are Ministers and Ministers.
+
+It is needless to go over the whole ground of the _cahier des charges_,
+the various paragraphs of which would form a good-sized pamphlet. The
+cardinal points of the stipulations between the contracting parties are,
+that the director of the Paris Opera House receives on his appointment
+possession of the theatre rent free, with all the stock of scenery,
+costumes and properties, with all the administrative and artistic
+_personnel_, the repertory, and a yearly subsidy of 800,000 francs
+(L32,000).
+
+In return for this he binds himself to produce every year a number of
+works by native composers, and to mount these in a manner capable of
+upholding the highest standard of art, and worthy of the great
+traditions of the house. This implies, among others, that every new work
+must be mounted with newly-invented scenery and freshly-devised
+costumes, and that in general, no one set of scenery, or equipment of
+wardrobe, can serve for two different operas, even were there an
+identity of situations or historical period or any other points of
+similarity. Thus, if there are in the opera repertory fifty works,
+necessitating, say, a cathedral, a public square, a landscape or an
+interior, the direction must provide fifty different cathedrals, fifty
+different public squares, fifty varying landscapes, etc. The same
+principle applies to costumes, not only, of the principal artists, but
+of the chorus and the ballet. Only the clothes and costumes of
+definitely abandoned works can be used again by special permission of
+the Minister of Fine Arts.
+
+As regards the new works that a director is bound to produce every year,
+not only is their number stipulated, but the number of acts they are to
+contain, and their character is specified as well. This is in order to
+avoid the possible occurrence of a production, say, of two works each in
+one act, after which exertion a director might consider himself quit of
+the obligation. It is plainly set out that the director must produce in
+the course of the year _un grand ouvrage_, _un petit ouvrage_, and a
+ballet of so many acts each--total, eight, nine or ten acts, according
+to the stipulations. Moreover, he is bound to produce the work of a
+_prix de Rome_--that is to say, of a pupil of the Conservatoire, who has
+received a first prize for composition, and has been sent at the expense
+of the Government to spend three years at the Villa Medicis of the
+Academie de France in Rome. Owing to circumstances, the Minister himself
+designates the candidates for this _ex-officio_ distinction, guided by
+priority of prizes. The director had recourse to this measure through
+the fault of the _prix de Rome_ themselves, who, over and over again,
+either had nothing ready for him or else submitted works entirely
+unsuitable for the house. The Minister's nomination relieves the
+director of responsibility in such cases.
+
+Works of foreign composers produced at the opera, do not count in the
+number of acts stipulated by the _cahier de charges_, the respective
+paragraphs being drawn up in favour of native composers; nor can any
+excess in the number of acts produced in one year be carried over to the
+next year.
+
+Amongst the prerogatives of the Paris opera director, is the absolute
+monopoly of his repertory in the capital--works in the public domain
+excepted--and the right to claim for his theatre the services of those
+who gain the first prizes at the final examinations of the operatic
+classes at the Conservatoire.
+
+Towards the working expenses of his theatre the director has, firstly,
+the subvention and the subscription, and, secondly, the _alea_ of the
+box-office sales. The subvention of 800,000 francs divided by the number
+of obligatory performances gives close upon L170 towards each, and the
+subscription averages L400 a night, or L570 as a minimum with which the
+curtain is raised, and it is the manager's business to see that his
+expenses do not exceed the sum. The "house full" receipts being very
+little over L800 at usual prices, the margin is not very suggestive of
+huge profits. Indeed, with the constantly rising pretensions of star
+artists, spoilt by the English, and American markets, and the fastidious
+tastes of his patrons, the Paris opera director has some difficulty in
+making both ends meet. Within the last fifteen years the two Exhibition
+seasons have saved the management from financial disaster, and this only
+by performing every day, Sundays sometimes included. Some fifty new
+works by native composers have been produced at the opera since the
+opening of the new house in 1876, and six by foreign composers--_Aida_,
+_Otello_, _Lohengrin_, _Tannhaeuser_, _Walkuere_, and _Meistersinger_. The
+maximum of performances falls to _Romeo et Juliette_, this opera heading
+also the figure of average receipts with 17,674 francs (about L507).
+Eleven works have had the misfortune to figure only between three and
+nine times on the bill.
+
+Independently of the supervision exercised by the Minister of Fine Arts,
+the strictest watch is kept over managerial doings by the Societe des
+Auteurs, a legally constituted body which represents the authors'
+rights, and is alone empowered to treat in their names with theatrical
+managers, to collect the fees, to guard the execution of contracts and
+even to impose fines.
+
+Thus is national art in France not only subsidised and patronised, but
+safeguarded and protected.
+
+FOOTNOTES:
+
+[B] It may be of interest to note that during this period no less than
+543 different works, mostly by native composers, had been produced.
+The last opera produced under the old _regime_ on the 3rd of August
+1829 was Rossini's _Guillaume Tell_.
+
+[C] During 1900 _Faust_ was played thirty-nine times to an average
+house of 18,397 francs (about L730) in a repertory of twenty-five
+operas, and the _Walkuere_ eleven times to an average of 19,417 francs
+(about L777).
+
+
+
+
+The English National Opera House
+
+
+Three factors determine the existence of any given theatre and have to
+be considered with reference to my proposed National Opera House,
+namely, tradition, custom, and enterprise.
+
+I have proved we possess an operatic tradition, and as regards custom no
+one will dispute the prevalence of a taste for opera. Indeed, from
+personal experience, extending over a number of years, I can vouch for a
+feeling akin to yearning in the great masses of the music-loving public
+after operatic music, even when stripped of theatrical paraphernalia,
+such, for example, as one gets at purely orchestral concerts. It is
+sufficient to follow the Queen's Hall Wagner concerts to be convinced
+that the flattering patronage they command is as much a tribute to the
+remarkably artistic performance of Mr Henry Wood, as it is due to the
+economy of his programmes. Again, in the provinces, I have observed,
+times out of number, crowded audiences listening with evident delight,
+not only to popular operas excellently done by the Moody-Manners'
+Company, but to performances of _Tristan_ and _Siegfried_, which, for
+obvious reasons, could not give the listeners an adequate idea of the
+real grandeur of these works. But the love of opera is there, and so
+deeply rooted, that, rather than be without it, people are willing to
+accept what they can get.
+
+This much, then, for tradition and custom.
+
+As regards enterprise in the operatic field, it can be twofold--either
+the result of private initiative, working its own ends independently, or
+else it is organised, guided, and helped, officially.
+
+It is under the former aspect that we have known it, so far, in this
+country, and as we are acquainted with it, especially in London, we find
+it wanting, from the point of view of our special purpose. Not that it
+should be so, for the Covent Garden management, as at present organised,
+could prove an ideal combination for the furtherance of national art,
+were its aims in accordance with universal, and, oft-expressed, desire.
+What better can be imagined than a theatre conducted by a gathering
+representative of, nobility, fashion, and wealth?
+
+It is under such auspices that opera originated, and that native art
+sprang to life and prospered everywhere; and it is to these one has the
+right to turn, with hope and trust, in England. But when wealth and
+fashion stoop from the pedestal assigned to them by tradition, and
+barter the honoured part of Maecenas for that of a dealer, they lose the
+right to be considered as factors in an art problem, and their
+enterprise may be dismissed from our attention. For the aim of an opera
+house, worthy of a great country like England, should not be to make
+most money with any agglomeration of performers, and makeshift
+_mise-en-scene_, but to uphold a high standard of Art.
+
+But the elimination of private enterprise from my scheme is but one more
+argument in favour of official intervention, and the experience of
+others will stand us in good stead.
+
+Of the three systems of State subsidised theatres, as set out in my
+_expose_ of operatic systems in Italy, Germany, and France, the ideal
+one is, of course, the German, where the Sovereign's Privy Purse
+guarantees the working of Court theatres, and secures the future of
+respective _personnels_. But the adoption of this plan, or the wholesale
+appropriation of any one other, cannot be advocated, if only because the
+inherent trait of all our institutions is that they are not imported,
+but the natural outcome of historical, or social, circumstances. My
+purpose will be served as well, if I select the salient features of each
+system.
+
+Thus, in the first instance, admitting the principle of State control in
+operatic matters, I will make the furtherance of national art a
+condition _sine qua non_ of the very existence of a subsidised theatre,
+and performances in the English language obligatory.
+
+Secondly, I will adopt the German system of _prevoyance_, in organising
+old age pensions for theatrical _personnels_.
+
+Thirdly, I will borrow from Italy the idea of municipal intervention,
+all the more as the municipal element has become, of late, an
+all-important factor in the economy of our civic life, and seems all but
+indicated to take active part in a fresh phase of that life.
+
+I do not see how any objection can be raised to the principle of these
+three points, though I am fully aware of the difficulties in the way of
+each; difficulties mostly born of the diffidence in comparing the status
+of operatic art abroad, with its actual state in this country. It must
+be borne in mind, however, that I am endeavouring to give help to the
+creation of a national art, and not promoting a plan of competition with
+the operatic inheritance of countries which have had such help for over
+two centuries.
+
+We are making a beginning, and we must perforce begin _ab ovo_, doing
+everything that has been left undone, and undoing, at times, some things
+that have been, and are being, done. Let me say, at once, to avoid
+misapprehension, that I refer here to the majority of the Anglicised
+versions of foreign _libretti_. They are unsatisfactory, to put it very
+mildly, and, will have to be re-written again before, these operas can
+be sung with artistic decency in English. The classes of our great
+musical institutions will have to be reorganised entirely, from the
+curriculum of education to examinations. This is a crude statement of
+the case, the details can always be elaborated on the model of that fine
+nursery of artists, the Paris Conservatoire. We must not be deterred by
+the possible scarcity of native professors, able to impart the
+indispensable knowledge. Do not let us forget that the initial
+instructors of operatic art came from Italy to France, together with the
+introduction of their new art; but, far from monopolising tuition, they
+formed pupils of native elements, and these in turn became instructors,
+interpreters, or creators. The same thing will happen again, if
+necessary, let us by all means import ballet masters, professors of
+deportment, singing teachers, and whoever can teach us what we do not
+know, and cannot be taught by our own men. Pupils will be formed soon
+enough, and the foreign element gradually eliminated. Do not let us
+forget, either, that stalest of commonplaces that "Rome was not built in
+a day."
+
+We are not trying to improvise genii, or make a complete art, by wishing
+for the thing, but we are laying foundations for a future architecture,
+every detail of which will be due to native enterprise, and the whole a
+national pride. To look for immediate results would be as idle as to
+expect Wagners, and Verdis, or Jean de Reszkes, and Terninas, turned
+out every year from our schools, simply because we have a subsidised
+opera house, and reorganised musical classes.
+
+We are bound to arrive at results, and no one can say how great they may
+be, or how soon they may be arrived at. The unexpected so often happens.
+Not so many years ago, for example, operatic creative genius seemed
+extinct in the land of its birth, and the all-pervading wave of
+Wagnerism threatened the very existence of musical Italy, when, lo!
+there came the surprise of _Cavalleria Rusticana_, and the still greater
+surprise of the enthusiasm with which the work was received in Germany,
+and the no less astonishing rise of a new operatic school in Italy, and
+its triumphant progress throughout the musical world. Who can say what
+impulse native creative talent will receive in this country, when it is
+cared for as it certainly deserves?
+
+The question arises now of the most practical manner in which this care
+can be exercised?
+
+Plans have been put forward more than once,--discussed, and discarded.
+This means little. Any child can pick a plan to pieces, and prove its
+unworthiness. Goodwill means everything, and a firm conviction that in
+the performance of certain acts the community does its duty for reasons
+of public welfare. I put more trust in these than in the actual merit of
+my scheme, but, such as it is, I submit it for consideration, which, I
+hope, will be as seriously sincere, as the spirit in which it is
+courted.
+
+I would suggest that the interests of the National Opera House in
+London, should be looked after by a Board under the supervision of the
+Education Department, the members of the Board being selected from among
+the County Councillors, the Department itself, and some musicians of
+acknowledged authority.
+
+The enlisting of the interest of the Educational Department would
+sanction the theory of the educational mission of the venture; the
+County Council comes into the scheme, for financial and administrative
+purposes; the selection of musicians needs no explanation, but a proviso
+should be made that the gentlemen chosen, have no personal interest at
+stake.
+
+As I said before, we have to begin at the beginning, and so the duties
+of the Board would be:--
+
+      1. The building of a National Opera House in London.
+
+      2. The drawing up of a schedule of stipulations on the lines
+      of the French _cahier des charges_ regulating the work of
+      the theatre.
+
+      3. The appointment of a manager.
+
+      4. The supervision of the execution of the stipulations
+      embodied in the schedule.
+
+      5. The provision of funds for the subsidy.
+
+As to the first of these points, I do not at all agree with those who
+wish every new opera house constructed in servile imitation of the
+Bayreuth model. Such a theatre would only be available for operatic
+performances of a special kind, but the structure of the auditorium
+would result in the uniformity of prices which goes dead against the
+principle of a theatre meant for the masses as well as for the classes.
+
+All that I need say here is, that our National Opera House should be
+built in London, and according to the newest inventions, appliances and
+most modern requirements.
+
+As regards the second point, enough has been said about describing
+foreign systems to show how a schedule of stipulations should be drawn
+up, when the time comes.
+
+Concerning the appointment of a manager, it goes without saying that the
+director of our National Opera House must be an Englishman born and
+bred, and a man of unimpeachable commercial integrity and acknowledged
+theatrical experience. Such a selection will make the task of the Board
+in supervising the work an extremely easy one.
+
+The provision of funds is the crucial point of the scheme. Before going
+into details, let me appeal to the memory of the British public once
+more, praying that it will remember that every year some L50,000 or
+L60,000 of national cash is spent in ten or twelve weeks to subsidise
+French, German and Italian artistes in London. It is but reasonable to
+suppose that if an authoritative appeal for funds on behalf of National
+Opera were made, at least half of this money would be forthcoming for
+the purpose. And so I would advocate such an appeal as the first step
+towards solving the financial problem of my scheme. Secondly, there
+would have to be a _first_ Parliamentary grant and an _initial_
+disbursement of the County Council funds, all towards the building of
+the opera house. It is impossible to name the necessary sum; but one can
+either proceed with what one will eventually have, or regulate
+expenditure according to estimates.
+
+The house once built and the manager appointed, both Parliamentary and
+County Council grants will have to be renewed every year, the sum-total
+being apportioned to the probable expenses of every performance, the
+number of performances and the length of the operatic season. The best
+plan to follow here would be to have a season of, say nine or ten
+months, with four performances a week.
+
+The manager would receive the house rent free, but should on his side
+show a working capital representing at least half the figure of the
+annual subsidy, and, further, lodge with the Board a deposit against
+emergencies. Considering the initial expenses of the first management,
+when everything, from insignificant "props" to great sets of scenery
+will have to be furnished in considerable quantities, there should be no
+charges on the manager's profits in the beginning, for a year or two.
+But later on, 10 per cent. off the gross receipts of every performance
+might be collected, one part of the proceeds going towards a sinking
+fund to defray the cost of the construction of the house, and the other
+towards the establishment of a fund for old age pensions for the
+_personnel_ of the opera house.
+
+A further source of income that would go towards indemnifying the
+official outlay might be found in a toll levied on the purchaser of 2d.
+in every 10s. on all tickets from 10s. upwards, of 1d. on tickets
+between 5s. and 10s., and of 1/2d. on all tickets below 5s. I would make
+also compulsory a uniform charge of 6d. for every complimentary ticket
+given away.
+
+It is well-nigh impossible in the present state of my scheme to go into
+details of figures, especially concerning the official expenditure. But,
+as figures have their eloquence, we may venture on a forecast of such
+returns as might be reasonably expected to meet the outlay. I take it
+for granted that our opera house will be built of sufficient dimensions
+to accommodate an audience of 3000, and arranged to make an average of
+L700 gross receipts (subvention included) per performance possible.
+Taking the number of performances in an operatic season at 160 to 180,
+four performances a week in a season of nine or ten months, we get a
+total of receipts from L112,000 to L126,000, or, L11,200 to L12,600,
+repaid yearly for the initial expenses of the subsidising bodies, as per
+my suggestion of 10 per cent. taken off the gross receipts. The toll
+levied on tickets sold should average from L1446, 13s. 4d. to L1650
+annually, with an average audience of 750 in each class of toll for each
+performance: altogether between L12,646 and L14,250 of grand total of
+returns. From a purely financial point of view, these might be
+considered poor returns for an expenditure in which items easily figure
+by tens of thousands. But, in the first instance, I am not advocating a
+speculation, and secondly, there are other returns inherent to my
+venture, one and all affecting the well-being of the community more
+surely than a lucrative investment of public funds. The existence of a
+National Opera House gives, first of all, permanent employment to a
+number of people engaged therein, and which may be put down roughly at
+800 between the performing and non-performing _personnel_. Such is, at
+least, the figure at all great continental opera houses.
+
+In Vienna, the performing _personnel_, including chorus, orchestra,
+band, ballet, supers and the principal singers, numbers close upon 400.
+Then follows the body of various instructors, regisseurs, stage
+managers, repetiteurs, accompanists, etc., then come all the stage
+hands, carpenters, scene-shifters, machinists, electricians,
+scenographers, modellers, wig-makers, costumiers, property men,
+dressers, etc., etc., etc., and on the other side of the footlights
+there are ushers, ticket collectors, and the whole of the
+administration. Thus one single institution provides 800 people not only
+with permanent employment but with old age pensions. Nor is this all.
+The proper working of a large opera house necessitates a great deal of
+extraneous aid and calls to life a whole microcosm of workers, trader
+manufacturers and industries of all kinds.
+
+Let us take here the statistics for the city of Milan to better grasp my
+meaning. The figures are official, and are taken from a report presented
+to the municipality some time ago, and prove there is a business side of
+vital importance attached to the proper working of the local subsidised
+theatre, La Scala. The following are the items of what they call _giro
+d'affari_, or, in paraphrase, of "the operatic turn-over," and all are
+official figures.
+
+ The receipts of La Scala represent
+ during the season the
+ sum of                                     1,300,000 fr.    (L52,000)
+
+ Out of which a _personnel_ of
+ 816, exclusive of principal artistes,
+ receive salaries.
+
+ There are in Milan eleven
+ operatic agencies transacting
+ every year an average of 300,000
+ francs' (L12,000) worth of
+ business, or altogether                    3,300,000 fr.   (L132,000)
+
+ There are nine theatrical newspapers
+ with an average income
+ of 15,000 francs (L600) each, or
+ altogether                                   135,000 fr.     (L5,400)
+
+ Taking only the nineteen
+ principal singing and ballet
+ masters, and putting down their
+ earnings at the modest sum of 6000
+ francs (L240) each, we get a total of        114,000 fr.     (L4,560)
+
+ The chief theatrical costumiers
+ alone, four in number, return an
+ average business of 80,000 francs
+ (L3200) each, or                             320,000 fr.    (L12,800)
+
+ Theatrical jewellers, property
+ makers, hose manufacturers,
+ armourers, scene-painters, may
+ be put down for                              250,000 fr.    (L10,000)
+
+ The theatrical and artistic
+ population in Milan, year in,
+ year out, averages 3000 persons,
+ and may be divided into three
+ classes of 1000 persons each,
+ according to their expenditure.
+
+ Say 1000 persons spending
+ 4000 francs (L160) each,
+ which makes 4,000,000 francs
+ (L160,000); 1000 persons spending
+ 1000 francs (L40,000);
+ 1000 persons spending 800 francs
+ (L32), which makes 800,000
+ francs (L32,000), a total of               5,800,000 fr.   (L232,000)
+
+ The pianoforte dealers let
+ about 400 instruments every
+ year at 12 francs a month                     57,800 fr.     (L2,312)
+
+ Taking into account only
+ eight of the opera companies
+ (Monte Video, New York,
+ Caracas, Santiago, Madrid,
+ Buenos Ayres, Rio and Lisbon)
+ engaged in Milan, and selected
+ exclusively from Italian artistes,
+ we get a total of                         25,525,000 fr. (L1,021,000)
+
+ Adding all these together, we
+ get a grand total of                      36,801,800 fr. (L1,472,072)
+
+
+Very nearly a million and a half sterling turned over in operatic,
+business in one city. And there are scores of minor items, all sources
+of profit, that have to be neglected. But I must point out that no
+less than 1745 families derive employment and a regular income from
+the theatrical industry of Milan. It is quite true that the capital of
+Lombardy enjoys a position which is unique not only in Italy but in
+the whole world, as the chief operatic market, and there is nothing
+that indicates this artistic centre is likely to be shifted, much less
+to London than anywhere else. But it would be interesting to know how
+much English money goes towards the fine total of the Milanese
+operatic turn-over. There is no reason why we should not have our
+twenty odd trades, as in Milan, and at least 1745 households whose
+material existence would be definitely secured through their
+association with a National Opera House. If I am not writing in vain,
+our results should be infinitely greater, differing from continental
+ones as a franc or a mark differs from a pound sterling. And should
+the great provincial towns follow the lead of London, entrusting their
+municipalities with the creation and organisation of opera houses, if
+Manchester, Liverpool, Birmingham, Leeds, Glasgow, Sheffield,
+Bradford, Dublin, Hull, Southampton, Plymouth, Wolverhampton, etc.,
+will turn a part of their wealth towards promoting a scheme of the
+greatest importance to the art of the nation; if all that goes to
+foreign pockets for foreign art is used for patriotic purposes--then
+England will be able to show an operatic turn-over worthy of her
+supremacy in other spheres. For every Italian household living on
+opera we will have ten, and prosperity will reign where, so far, art
+and an artistic education have brought only bitter disappointment. I
+am writing of "Music as a profession" in England. The multiplication
+of our music schools seems to be accepted as a great matter of
+congratulation, and we are perpetually hearing the big drum beaten
+over the increasing number of students to whom a thorough musical
+education has been given; but who asks what becomes of them all?
+Oft-met advertisements offering music lessons at 6d. an hour are
+perhaps an answer. It would be profitless to pursue this topic, but
+all will agree that it is far better to sing in an operatic chorus at
+30s. or L2 per week than be one of the items in a panorama of vanished
+illusions and struggling poverty, the true spectacle of the singing
+world in London.
+
+The establishment of National Opera in England, putting artistic
+considerations aside, presents the following material and commercial
+advantages, viz., provision of permanent employment for artisans,
+mechanics, workmen and manual labourers; an impulse to various special
+industries, some developed, some improved, others created; an
+honourable occupation to hundreds kept out, so far, from an exclusive
+and over-crowded profession, and a provision for old age. In other
+words, the solution of the operatic problem in England might prove a
+step towards the solution of a part of the social problem.
+
+That my scheme for the establishment of an English National Opera
+House is perfect, I do not claim for a moment. That my plans might be
+qualified as visionary and my hope of seeing a national art called to
+life through the means I advocate considered an idle dream is not
+unlikely.
+
+But my conviction in the matter is sincere, and I can meet the
+sceptics with the words of the old heraldic motto which apologises for
+the fiction of a fabulous origin of a princely house: _etiamsi fabula,
+nobilis est_.
+
+
+
+
+ OPERA FOR THE PEOPLE
+
+
+
+
+ Opera for the People
+
+
+ _The ceremony of opening a new organ, the gift of
+ Mrs Galloway, was performed by Mr W. Johnson
+ Galloway, M.P., in the City Road Mission Hall, Manchester,
+ on Friday evening, September 6, in the presence
+ of a crowded gathering. A Recital was given by Mr
+ David Clegg._
+
+ _Mr Galloway, M.P., who took the chair, in opening
+ the proceedings, said_:--On an occasion such as this, it
+ will not, I am sure, be deemed superfluous if I take a
+ brief bird's-eye view of the history of music, and in a--comparatively
+ speaking--few sentences trace its progress
+ towards the position it now holds among the arts of
+ modern life. Music, in one form at least, has been with
+ us since the creation of man, for we may reasonably
+ believe that in his most elementary stage, he discovered
+ some vocal phrases which gave him a certain rude
+ pleasure to repeat, or chant, in association with his
+ fellows. Travellers, who have penetrated the confines of
+ remote and savage countries, have told us of the curious
+ chanting of their inhabitants when engaged in what, to
+ them, were their religious and festal celebrations; and as
+ we cannot conceive man in a more primitive condition, we
+ may take it, that in prehistoric times there was a limited
+ melodic form, which afforded that peculiar delight to the
+ savage mind, that the glorious polyphonic combination of
+ to-day, give to the cultured races of Eastern and Western
+ civilisation.
+
+ Our slight knowledge of the art, in its early state we
+ owe to such records, as have been handed down to us
+ from that which may be termed the golden era of civilisation
+ in Egypt. Long before the sway of the Ptolemies--ages
+ before Cleopatra took captive her Roman Conqueror--music
+ formed not only an indispensable part in
+ religious and State functions, but entered largely into the
+ social life of the people, and of this there is indisputable
+ evidence in the hieroglyphics and carvings, to be found
+ on the seemingly imperishable monuments, which the researches
+ of archaeologists have revealed to the knowledge
+ of man.
+
+ Of ancient Hebrew music we do not know much, but
+ we may assume, that during the Captivity they learned not
+ a little from their Egyptian masters, although it does not
+ appear--judging from the harsher and more blatant
+ character of their instruments--that they attained the
+ degree of refinement achieved by the Egyptians. It
+ would seem, from the many allusions contained in the
+ Bible, that the Jews were more particularly attracted
+ towards the vocal, rather than the instrumental, side of
+ the art. Many a familiar biblical phrase will probably
+ crop up in our mind. The psalms that are sung during
+ Divine Service teem with such references. "O sing unto
+ the Lord a new song," "How shall we sing the Lord's
+ song in a strange land?" are sufficient to illustrate my
+ meaning, and among the daughters of Judea such names
+ as Miriam, Deborah, and Judith, are especially known to
+ us for their accomplishment in the vocal art, and as
+ examples of the manner, in which it was cultivated by
+ the women of Israel.
+
+ Among the ancients, however, the Greeks most assuredly
+ had the keenest perception and appreciation of the beauties
+ and value of music. In the Heroic age it played a
+ significant part in their sacred games, and for a man to
+ acknowledge an ignorance of the principles of musical
+ art, was to confess himself, an untutored boor. In the
+ great tragedies of Sophocles and Euripides it figured
+ largely both vocally and instrumentally, and, even as the
+ Welsh have their Eisteddfod, so the classic Greeks had
+ their competitions, in which choirs from various cities
+ strove for vocal supremacy and the honours of prize-winners.
+
+ That other great race of ancient times which fattened
+ on the spoils of Europe and Asia--I refer to the Romans--treated
+ the art with less concern, and employed it in
+ a cruder form at the celebration of their victories and
+ Bacchanalian revels. They did little or nothing to foster
+ or develop it, although it is said that one of their most
+ famous--or perhaps it would be better to say infamous--rulers
+ was so devoted to music, that he fiddled while
+ his capital was burning. But we may reasonably have
+ our doubts as to Nero's claim to rank as the Sarasate of
+ his time, for although he made public appearances as a
+ virtuoso in his chief cities, and challenged all comers to
+ trials of skill, the importance of his recorded victories is
+ somewhat diminished, by the fact, that his judges were
+ sufficiently wise in their generation, to invariably award
+ him the honour of pre-eminence. It is a prudent judge
+ who recognises a despotic Emperor's artistic--and other--powers.
+
+ With the dawn of Christianity came a new era in
+ the art, and in the 4th century, we find that a School
+ of Singing was established at Rome, for the express
+ purpose of practising and studying Church music. It
+ was not, however, until another couple of centuries had
+ elapsed, that the sound of music based on definite laws
+ was heard beneath an English sky. You have to travel
+ back in mind to that memorable procession of devoted
+ monks, which, under the leadership of the saintly
+ Augustine, wended its way into the little city of Canterbury,
+ singing its Litany of the Church, and startling
+ Pagan Britain with its joyful alleluia. Slowly, very
+ slowly, the art progressed, but four more centuries were
+ to pass before it was established on anything like a true
+ scientific basis, and it is such men as Hucbald, a Flemish
+ monk, Guido D'Arezzo and Franco of Cologne who
+ laid the foundation of our whole system of polyphonic
+ music.
+
+ Before, however, I touch on that broader expanse, the
+ era of the Flemish School, which began to attain noteworthy
+ prominence in the early years of the 15th century,
+ it would be as well, perhaps, to dwell for a few moments
+ on the history of the noble instrument which is the cause
+ of our foregathering here to-day. In a very early chapter
+ in the Book of Genesis we are told that Jubal was "the
+ father of all such as handle the harp and the organ," and
+ therefore he ranks in history as the first teacher of
+ music. It is commonly asserted, that the emoluments
+ of the modern organist do not come well within the
+ designation of "princely," and, judging from the limited
+ population in those Adamite days, we may well assume
+ that Jubal's living was almost as precarious as those worthy
+ Shetland Islanders who depended for their subsistence
+ on washing one another's clothes. With wise forethought,
+ however, Jubal's brother had devoted himself to engineering.
+ "He was the instructor of every artificer in brass and
+ iron," and therefore, we may conclude there was money
+ in the family, and that the man of commerce was generous
+ to the man of music, even as we of to-day are ever
+ ready to respond to the demands for assistance, on behalf
+ of our local choral societies, and musical organisations.
+ But it must not be supposed, that the organ presided over
+ by Jubal bore any resemblance whatever, to the stately
+ instrument, which will now voice its glorious tone within
+ these walls, for the first time in public. The primitive
+ organ of mankind has its present-day affinity in the
+ charming instrument, which, in the hands and mouth of a
+ precocious juvenile, has such a powerful and stimulating
+ effect on the cultivated ears and sensitive nerves of the
+ modern amateur.
+
+ It is not possible for me to go into any detail, with
+ regard to the slow and marvellous development of that
+ triumph of human skill, which is truly known as the king
+ of instruments. From those simple pieces of reed, cut
+ off just below the knot, which formed the pipes of the
+ syrinx, to the complicated, elaborate and perfect machinery
+ which is hidden beneath the organ case there, is the same
+ degree of difference, as there is between the rough-hewn
+ canoe of the savage, and the wonderful perfection of the
+ liners, which run their weekly race across the broad
+ Atlantic. It was not until the end of the 11th century,
+ that the first rude steps were taken towards the formation
+ of the modern keyboard; then it was that huge keys or
+ levers began to be used, and these keys were from 3
+ to 5 inches wide, 1-1/2 inches thick, and from a foot and
+ a half to a yard in length. Nevertheless, even the
+ organ of the 4th century had its impressive powers, if
+ we may place reliance on words attributed to the
+ Emperor Julian, the Apostate, who wrote: "I see a
+ strange sort of reeds; they must, methinks, have sprung
+ from no earthly, but a brazen soil. Wild are they, nor
+ does the breath of man stir them, but a blast leaping
+ forth from a cavern of ox-hide, passes within, beneath
+ the roots of the polished reeds; while a lordly man, the
+ fingers of whose hands are nimble, stands and touches
+ here and there, the concordant stops of the pipes; and
+ the stops, as they lightly rise and fall, force out the
+ melody."
+
+ And in its growth, as in the growth of young children,
+ the organ has had its share of infantile vicissitudes. Even
+ as late as the 13th century it lay under the ban of
+ the ecclesiastics, and was deemed too profane and scandalous
+ for Church use. Again, in 1644, Parliament issued an
+ ordinance which commanded "that all organs and the
+ frames and cases wherein they stand in all Churches and
+ Chappells aforesaid shall be taken away and utterly defaced,
+ and none other hereafter set up in their places." "At
+ Westminster Abbey," we are told, "the Soldiers broke
+ down the organs and pawned the pipes at several Ale
+ Houses for pots of Ale." It is difficult to understand this
+ opposition to the organ, more especially as David in the
+ last of his psalms enjoined the people "to praise God
+ with stringed instruments and organs." True, indeed, Job,
+ in one of his most pessimistic moods, placed it on record
+ that "the wicked rejoice at the sound of the organ," but
+ evidently Job had no soul for music--was so unmusical,
+ in fact, that he is worthy to be associated with a certain
+ eminent divine of the English Church, whose musical
+ instinct was so deficient that he only knew "God Save the
+ Queen" was being sung by the people rising and doffing
+ their hats.
+
+ Before touching upon that scientific development of
+ the art, which, broadly speaking, began with the advent
+ of the Flemish School and reached its culminating point
+ within the rounded walls of Bayreuth, we may well give
+ a moment's consideration to those melodies, which travelled
+ their unwritten way through the early Middle Ages, and
+ which we know, by the few examples that have come down
+ to us, to have been racy of the soil that gave them birth;
+ the folk song of the country is more characteristic of its
+ people, of their temperament and psychology, than any
+ other attribute of their national existence. We, in England,
+ have little enough to point to in this way; in a sense
+ there is nothing peculiarly individual in our music as a
+ whole. But with the old melodies of Ireland, that ever
+ seem to tremble between a tear and a smile, and in the
+ quaint pathos of Scotland's airs, and the well-defined
+ beauty of typical Welsh songs, we recognise the true
+ speech of the heart and the outpouring of the natural man.
+ Germany is still richer in its folk music, and the Pole
+ and the Russian, the Hungarian and the Gaul, can each
+ point to a mine of original melody which has provided
+ latter-day composers with the basis of their most beautiful
+ works. Nor must the importance of the Troubadours
+ and Minnesingers be overlooked in reference to this
+ interesting phase of musical art. They it was who kept
+ alive and spread abroad the traditional songs of the people,
+ and by their accomplishment actually worked as an
+ educational force on the people themselves. Readers of
+ Chaucer will bear in mind many an allusion to the minstrel's
+ art of his period, and well through the Norman and
+ Plantaganet epochs.
+
+ "With minstrelsy the rafters sung,
+ Of harps, that from reflected light
+ From the proud gallery glittered bright
+ To crown the banquet's solemn close,
+ Themes of British glory rose;
+ And to the strings of various chimes
+ Attemper'd the heroic rhymes."
+
+To the Flemish, or Netherland School of music we owe an art system, that
+exercised a potent influence on every form of composition, and
+counterpoint was the especial study of its followers, until, as
+invariably happens, technical skill was regarded with a greater degree
+of favour than genuine inspiration. But the School unquestionably
+produced a vast number of very fine masses, motets, and much fine
+service music. Then from Belgium the musical spirit travelled to Italy,
+and before the 16th century had fulfilled half its appointed course, the
+powers of Palestrina had indelibly stamped Italian art, and his genius
+had elevated the ecclesiastical music of the age, to the lofty standard
+of its associations. Then such musicians came to mind as Monteverdi and
+Carissimi, the latter of whom made clear the path, for those great
+writers of oratorio, whose names we hold in such reverence, and whose
+works we love with such unwavering devotion.
+
+German art was late in the field, and correspondingly slow in the
+earlier stages of its development; thus we owe it little as a pioneer
+in the art. But when the Teuton burst upon the world in all his
+greatness, he first came in the colossal personality of John Sebastian
+Bach, and then followed Haydn, Mozart and Beethoven, to be succeeded by
+others, who were well qualified to take unto themselves the mantles of
+their predecessors. Perhaps, however, I have done early German art some
+injustice, for it must not be forgotten, that to the era of the great
+Reformation, we owe those Lutheran chorales, such as the famous _Ein'
+feste Burg_, which were as effective in stirring and encouraging the
+rank and file of the reformers, as were the thrilling words of Luther,
+and his earnest and enthusiastic fellow-workers. And it was due to the
+custom of accompanying these chorales, that Germany owned, before the
+end of the 17th century, the finest school of organists in Europe.
+
+English music has always leaned more towards the sacred, than the
+secular side of the art. The names of Marbecke, Thomas Tallis, Byrd,
+Farrant, Gibbons, Lawes, Blow and Purcell are known to every choir-boy
+and village chorister. Their anthems and chants are part and parcel of
+the musical programme of every parish church, and the fine example, set
+by these Elizabethan and Stuart writers has been well followed, by
+Croft, Weldon, Boyce, and nearer, and belonging to our own times,
+Wesley, Goss and Sullivan. And it is the sacred in music, which to-day
+makes the strongest appeal to the heart of the English nation. In the
+congregational singing in churches, in the overwhelming attention which
+an English audience will bestow on such an oratorio as the _Messiah_, we
+realise that a chord is struck, which vibrates through the whole of our
+being, which lifts us into a state of semi-exultation, and moves us like
+the words of some great statesman. I will not discuss the question, of
+whether a drama or an opera has most power over its audience, but I will
+fearlessly affirm, that apart from the drama there is no art that has
+the same soul-stirring influence, as the art of music. The simple
+harmonies of our Anglican hymns suffice for the untaught peasant, and
+the broad sweep of a Handelian chorus holds captive musical amateurism.
+But there is a music that reaches to higher heights, embraces within its
+sphere a wider domain, and goes deep down into the mysteries of
+nature--into the abysses of the soul; but such music is an open book
+only for the musical student. It lives. It exists. It swells through the
+length and breadth of the land; and year by year its influence
+increases, its power becomes more dominant, and its glowing beauties
+more vividly appreciated. People are beginning to comprehend the
+wondrous message, sent to us by such composers as Ludwig Beethoven, and
+Richard Wagner. They are beginning to understand the voice of that most
+marvellous of all instruments--more marvellous than the organ itself,
+for its keyboard is human brains, and its stops are human hands. I mean
+the modern orchestra. The world's finest music has been written for that
+instrument; the divinest melodies have been given it to interpret, and
+the most significant factor in the English art life of the present is
+the growing enthusiasm with which music, in its highest and most
+abstract form and beauty, is listened to, by those who, in political
+phraseology, are summed up in that terse and comprehensive expression
+"The Masses."
+
+I look with much greater confidence to music, than I do to Parliament,
+for the means of preventing crime and intemperance--indeed, as one of
+the most permanent cures of all vice and discontent. Much has been done
+in later years by local authorities, towards enabling the public to have
+within easy and reasonable reach such music as can be provided by bands
+and local orchestra. But this is only the beginning. I trust the day may
+not be far distant, when local authorities will see their way to
+providing at cheap prices the best of operas, as is done so largely on
+the Continent of Europe. We rightly and wisely provide libraries,
+technical schools, and many other forms of instructive recreation, but
+why are we in England to lag behind other countries in providing that
+most instructive form of entertainment--namely, opera. I have never
+known a true lover of music who was not a good citizen. And what a
+preventive against idleness, the cause of so much crime. Once produce
+opera at a price which all can afford to pay to hear, and can anyone
+doubt, that many a man and woman will choose it, in preference to an
+evening in a public-house or a music-hall. I never remember listening to
+an opera, however poor or badly performed, that I have not gained some
+strength with which to continue the desperate struggle of the battle of
+life--which is very much more than I can say, for instance, for speeches
+in the House of Commons. He who loves music has a servant at his command
+which will ever render him willing and delightful service; he who loves
+music brings himself into subjection, to one of the most elevating and
+purifying influences of civilisation, and he who loves music and will
+practise it, becomes a valuable and agreeable factor in the social life
+of the community. There are no selfish restrictions in music. The
+painter must keep himself to his canvas, and the actor to his stage, but
+singers and instrumentalists have a standing in the humble parlours of
+the poor, and in the luxuriously-upholstered drawing-rooms of the rich;
+they have a coign of vantage in the choir stalls of churches and on the
+platforms of concert halls. Music offers her favours alike to the modest
+reader of the Tonic Sol-fa Notation, and to the pianist who can master
+the difficulties of the Beethoven Sonatas. The chorus singer enjoys the
+same measure of gratification as the leading soloist, and the student
+with his score in his hand is just as great a king as the conductor.
+
+In speaking briefly on such a vast and interesting subject, one must
+necessarily leave volumes unsaid that ought to be said. I have but
+casually touched on the beginnings of musical art, and the utmost I can
+hope for is that I have succeeded in arousing some degree of curiosity
+in the minds of those, who have shown but little regard for musical
+literature, and which will have the effect of ultimately leading them to
+devote more of their time and attention to good musical performances.
+
+
+_Colston & Coy. Limited, Printers, Edinburgh._
+
+
+
+
+    +-----------------------------------------------+
+    |             Transcriber's Note:               |
+    |                                               |
+    | Typographical errors corrected in the text:   |
+    |                                               |
+    | Page  9  Manteverde changed to Monteverdi     |
+    | Page 14  snnshine changed to sunshine         |
+    | Page 31  threatre changed to theatre          |
+    | Page 45  Othello ochanged to Otello           |
+    | Page 75  genuis changed to genius             |
+    | Page 75  Monteverde changed to Monteverdi     |
+    +-----------------------------------------------+
+
+
+
+
+
+End of Project Gutenberg's The Operatic Problem, by William Johnson Galloway
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