I understand you wish me to give you some idea of the technicalities
involved in producing the stage pictures which go to form an opera. Let
us suppose it is an opera by an American composer. My first procedure
would be to place myself in touch with the author and composer. After
having one or two talks with them I secure a libretto. When a mutual
understanding is agreed upon between us as to the character of the
scenes required and the positions of particular things in relation to
the business which has to take place during the performance, I make my
plans accordingly, and look up all the data available bearing upon the
subject.
It is now time to call in the scenic artist, giving him my views and
ideas, so that he can start upon the designing and painting of the
scenery. His first design would be in the form of a rough sketch and a
more clearly worked-out ground plan. After further discussion and
alterations we should definitely agree upon a scheme, and he would
proceed to make a scale model. When this model is finished it is a
perfect miniature scene of the opera as it will appear on the night the
opera is produced.
The author and composer are then called in to meet the impresario and
myself for a final consultation. We now finally criticize our plans,
making any alterations which may seem necessary to us. When these
alterations are completed the plans are handed over to the carpenter,
who immediately starts making his frames and covering them with canvas,
working from the scale model. The scenic artist is now able to commence
his work in earnest.
The "properties" are our next consideration. Sketches and patterns are
made, authorities are consulted, and everything possible is done to aid
the Property Master in doing his part of the work.
Unless the opera in question calls for special mechanical effects, or
special stage machinery, the scene is adapted to the stage as it is. If
anything exceptional has to be achieved, however, special machinery is
constructed.
The designing of the costumes is gone over in much the same way as the
construction of the scenery. The period in which the opera is laid, the
various characters and their station in life, are all well talked over
by the composer, author and myself. The costume designer is then called
in, and after listening to what every one has to say and reading the
libretto, he submits his designs. These, when finished, are criticized
by the impresario, the composer, the author and myself, and any
suggestion which will improve them is accepted by the designer, and
alterations are made until everything is satisfactory. The designs are
then sent to the costume maker.
The important matter of lighting and electrical effects is not dealt
with until after the scenery has been completed, painted and set up on
the stage, except in the case when exceptional effects are demanded. The
matter is then carefully discussed and arranged so that the apparatus
will be ready by the time the earlier rehearsals are taking place.
The staff required by a Technical Director in such an institution as the
Metropolitan Opera House is necessarily a large one. He needs an able
scenic artist with his assistants and an efficient carpenter with his
assistants to complete the scenic arrangements as indicated in the
models. The completed scenery is delivered over to the stage carpenter
who has a large body of assistants, and is held responsible for the
running of the opera during rehearsals and performances. The stage
carpenter has also under his control a body of carpenters who work all
night, commencing their duties after the opera is over, removing all the
scenery used in the opera just finished from the opera house and
bringing from the various storehouses the scenery required for the next
performance or rehearsal. The electrician is an important member of my
staff, and he, of course, has a number of assistants. The Property
Master and his assistants and the Wardrobe Mistress and her assistants
also are extremely important. Then the active engineer who is
responsible for the heating and ventilating, and also for many of the
stage effects, is another necessary and important member. In all, the
Opera House, when in full swing, requires for the technical or stage
detail work alone about 185 people.
[Illustration: HOW AN OPERATIC STAGE LOOKS FROM BEHIND.]
Thus far we have not considered the musical side of the production. This
is, of course, under the management of the General Director and the
leading Musical Director. Very little time at best is at the disposal of
the musical director. A director like Toscanini would, in a first-class
opera house, with a full and competent company, require about fifteen
days to complete the rehearsals, and other preparations for such a
production as _Aida_, should such a work be brought out as a novelty. A
good conductor needs at least four orchestra rehearsals. _Pelleas et
Melisande_ would require more extensive rehearsing, as the music is of a
new order and is, in a sense, a new form of art.