THE CHIEF OPERA HOUSES OF THE WORLD.
Covent Garden—La Scala—San Carlo—Venice—Rome—Paris
and the Grand Opera—Vienna—Budapest—Prague—Berlin
—Dresden—Munich—Bayreuth—Russia—Other European
countries—Egypt—America.
[Sidenote: =Covent Garden=]
Architecturally speaking, our English opera house is not one of the
sights of London. Hidden away somewhat ignominiously in a side street,
it has little appearance, in spite of its size, and by no means forms
so conspicuous a feature in the way of public building as do the
majority of the houses in foreign capitals. Of the performances devoted
to opera given within its walls we have already said something, and may
therefore pass on to a consideration of the ways and doings of some of
the Continental opera houses.
[Sidenote: =La Scala=]
Turning, at first, to the sunny land where opera was born, the name
of the most famous “La Scala” Theatre at Milan at once comes to the
mind. This house has the enormous seating capacity for 3,600 persons.
Apart from its size, there is the musical and artistic interest
which this house derives from the production of many works here for
the first time. Since its opening date, August 3rd, 1778, hundreds
of operas have been staged, and the triumphs of Rossini, Meyerbeer,
Bellini, Donizetti, and Verdi have been witnessed. It is enough
to state that such works as Rossini’s _La Gazza Ladra_, Bellini’s
_Norma_, Donizetti’s _Lucretia Borgia_, Verdi’s _I Lombardi_, Boito’s
_Mefistofele_, and Ponchielli’s _La Gioconda_ first saw the light of
day in “La Scala” to establish for it a claim to notice on the part of
opera-goers. Sometime ago the municipal grant towards the expenses of
the establishment was close upon £10,000, but a five years’ contract
dating from 1902 allows only an annual subsidy of £3,900 for 50
performances, and at reduced prices.
[Sidenote: =San Carlo=]
Even older than La Scala, as it dates originally from 1737, is its
Neapolitan rival “San Carlo.” The new house, built after a fire in
1816, is of great size, and at one time vied with its Milanese brother
in the importance of new works produced; but less financial support
has been forthcoming from Naples than is the case at Milan, and
although an annual grant of £3,200 is given by the municipality, the
San Carlo productions, although of very high rank, are perhaps hardly
on a level with those at La Scala. But San Carlo has had its triumphs,
and has seen the first production of Rossini’s _Mosĕ in Egitto_,
_Zelmira_, and other works, and of Donizetti’s _Lucia di Lammermoor_,
besides numbers of other operas of less fame.
[Sidenote: =Venice=]
Although Venice looms large in the history of music, and its doings
in opera have been very considerable, there appears to be no theatre
solely devoted to this class of work, nor is there any regular
grant. It is interesting to remember that Rossini’s _Semiramide_ and
_Tancredi_ are both Venetian productions.
[Sidenote: =Rome=]
Rome in older days had pride of place amongst opera houses, and Mr.
Hadow speaks of it as being at one time the highest school in which
a musician could graduate. Here was produced Rossini’s _Il Barbiere_
and many another famous work. To-day opera at Rome, if indeed it is on
an equal level, hardly seems to be of higher importance than that in
other Italian cities. It has no subsidy at the present time, and has to
depend on its own resources for its upkeep.
[Sidenote: =Paris=]
The French opera house is, as most people know, one of the most
imposing sights of Paris; well situated and finely conceived, it is
a worthy home for that art product for which it is intended. The
history of French opera from the earliest recorded performances of the
sixteenth century is, of course, a very extensive one. So long ago as
1672 the name of Lully made Parisian opera famous, and although for a
time its home was transferred to the Palace Royal, the site has borne
testimony to many a fine building, the present one, inscribed Académie
Nationale de Musique, dating from 1874 (commenced in 1861). Although
its seating capacity of 2,156 is much less than that of La Scala, it
is the largest house in the world, and covers almost three acres of
ground, the cost of its erection being nearly a million and a half.
Besides Lully, the names of Rameau, Gluck, Cherubini, Spontini, Hérold,
Auber, Meyerbeer, and Berlioz are all indissolubly connected with the
opera of Paris: of that special class of work, the Parisian “Grand
Opera,” we have already spoken. There is no house in all musical
history that can claim so great a measure of variety and incident, nor
make such interesting reading, as that of the “Académie de Musique.”
Its fortunes have fluctuated, but it has done wonderful work, and a
mere recapitulation of names of fine operas which gained their original
production here would be far too long for quotation. The glory of
Parisian Grand Opera has always held a spell over the nations, and has
been a thing apart from all else in music; we know something of its
hold upon Wagner, and if there is to-day somewhat less of a glamour
cast by it than in the days when Lully held despotic sway, or Spontini
or Meyerbeer dominated all, there is still a charm and delight to be
found within its walls, which are difficult to equal in houses where
the traditional uses are less sacredly adhered to.
[Sidenote: =The Grand Opera=]
The French are very jealous of its traditions, and although modern
times have not allowed the direction to fall behind in their efforts
to keep pace with the strides operatic music has made under Wagner’s
influence, it is only quite recently that the works of the composer
have been welcomed in Paris. Popular feeling, partly on patriotic
grounds, for long kept his operas in the background: Parisians would
have none of them. The result has been, perhaps, even more rigidly
to preserve those customs of Grand Opera, such as the inclusion of a
ballet, which are amongst its most distinctive features.
Touching upon the question of finance, we find that the French
Government allows the very large subsidy of £32,000 per annum towards
the expenses of Grand Opera; in return, however, opera is supposed
to be staged three or four times during the week, and the prices of
admission, as compared with London, are not high (ranging from 17
fr. to 2 fr.). France loves its opera, and does not hesitate to lay
out good round sums for its support; nor are its people behind-hand
in their attendance; a crowded house is the rule rather than the
exception, appreciation, while critical, being still keen.
[Sidenote: =Vienna=]
Comparing not unfavourably in dignity of conception and splendour
of adornment with the French house is the Opera House of Vienna,
an ornament in that encircling ring of fine buildings which is so
distinctive a feature of the Austrian capital. Vienna has been the home
of so many of the giants of music that it is not surprising that it
should have witnessed the production of many a work now world famous:
Gluck’s _Orfeo_ (1762), Mozart’s _Figaro_ (1786), _Cosi fan Tutte_
(1790), and _Zauberflöte_ (1791), Beethoven’s _Fidelio_ (1805); these
alone would suffice to cause Vienna to stand high in musical fame, for
it was at Vienna that these works first came to light. Not that the
present Opera House witnessed their production, for the building which
to-day stands as an abode of opera dates from a more recent time; the
cost of its erection was £509,795. Belonging to the State, its affairs
are administered by the Lord Chamberlain’s department, any deficit
being made good from the Emperor’s Civil List.
[Sidenote: =Budapest=]
The Hungarian Opera House at Budapest also receives from the State a
subsidy of £24,208, and in addition a sum of £250 for salaries; the
Emperor supplementing this by a grant of £13,334.
[Sidenote: =Prague=]
Reference must also be made to Prague, famous for the production of
Mozart’s _Don Giovanni_ in 1787. More recently Prague has been the home
of works of the Bohemian school, as exemplified by Smetana, Dvŏrák,
Fibich, and others. Smetana’s _Bartered Bride_ was staged at Prague in
1866, and from that date to the time of the appearance of Dvŏrák’s last
opera, _Armida_, in 1904, the National Theatre has witnessed a constant
succession of works of a characteristically national tone which make an
unfailing appeal to the Czechs. The Czech theatre has a State grant of
£3,750.
[Sidenote: =Berlin=]
The Berlin Opera House also has claims to notice, for was not Weber’s
_Der Freischütz_ mounted here for the first time? Moreover, Berlin
being the capital of Germany, the house is the scene of many fine State
performances much patronized by the Royal House. The building itself,
although standing well in the fine “Linden” promenade, will not compare
with Paris or Vienna from an architectural point of view; the Opera
House and Play House of Berlin together receive £54,000 towards their
working expenses.
[Sidenote: =Dresden=]
Leipzig and Dresden have also fine theatres, the Dresden Opera House
being specially famous for its associations with Weber and Wagner.
Moreover, it is a fine building, magnificently situated in an imposing
position, and having considerable architectural pretensions. The King
of Saxony pays £31,000 for the opera, theatre, and orchestra, and also
makes good any deficit that arises. At this theatre Richard Strauss has
produced his two latest operas, _Salome_ and _Elektra_.
[Sidenote: =Munich=]
Munich has of late come to the front in operatic matters; the Court
Theatre, administered from the Civil List, has for long devoted much
attention to opera, but interest is now centred somewhat on the new
“Prince Regent” Theatre, where an attempt is being made to outvie
Bayreuth itself in the Wagner productions; fine performances have taken
place during the last few summers; the best singers available have been
engaged, and no expense spared in mounting and general details. Nor
have the performances been confined to Wagner, for representations of
Mozart’s operas have been interspersed with these. It is as yet too
early to say what influence, if any, the new Munich house will have on
the fortunes of Bayreuth, but it seems probable that a theatre even
better fitted up than Bayreuth itself for Wagnerian performances, and
in so much more central and easily reached a position, may in the near
future very prejudicially affect the fortunes of the older house.
Almost every German town of any size has its Opera House, and detailed
description of these is manifestly impossible, although very much
interest attaches to some of them; we must therefore conclude our
account of the German theatres with a short description of the theatre
built by Wagner at Bayreuth according to his own ideas of what such a
house should be.
[Sidenote: =Bayreuth=]
There is little doubt that at the present time the Bayreuth Opera
House is the most famous in the world; worship of Wagner is still
wide-spread, and the halo surrounding his name and his home casts a
glow upon the little town which he selected as the scene of his final
labours; and, therefore, from all parts of the world, when the Bayreuth
theatre opens its doors, pilgrimages are made, and devotees flock
with an intense enthusiasm which has no parallel in the case of any
other house. Moreover, until the Americans boldly pirated _Parsifal_,
contrary to Wagner’s wishes, it was here only that his last great work
could be heard; hence, to the true Wagnerian, Bayreuth is a spot sacred
and hallowed, inspiring a reverence quite distinct from that felt for
any other.
[Illustration: BAYREUTH THEATRE.]
It was in May 1872 that the foundation-stone was laid, and celebrated
with a performance of Beethoven’s _Choral Symphony_, and the completion
of the building, delayed by lack of funds, took place in 1876, when
the _Ring_ was performed; since then performances have taken place
on a grand scale at intervals of a year or two years in the summer.
Seats, which are the same price all over the house, cost £1 for each
performance; a feature in the construction was that an equally good
view should be obtained from every point of view (hence the equality
of prices); this was done by raising every seat a little above the
one immediately in front of it, and by putting each spectator where
he could see between the heads of the two persons before him. Another
feature was the submerged orchestra—_i.e._, below the level of the
floor of the house; even the conductor, although he has the stage
in view, cannot be seen by the audience, and part of the orchestra
(the brass) is actually under the stage—an experiment which seemed
doubtful at first, but which has on the whole proved successful. The
machinery and scenery were as good as could possibly be obtained, and
the management still keeps up to date in this respect. Although open to
competition both from New York and from Munich, Bayreuth seems likely
to hold its own for some years to come, whenever it may choose to open
its doors.
[Sidenote: =Russia=]
In Russia, and more especially at Petersburg and Moscow, theatrical
attendance is looked upon as an educational matter, and therefore it is
possible to see opera for fivepence! (Happy people—in that respect!)
Of course this means very large Imperial help, information as to the
exact amount of which is not forthcoming; but the two capitals have
fine houses, with interest for us in that they have witnessed the
production of most of the operas of the young Russian school; the
ballet is much beloved in Russia, and forms one of the regular objects
of representation.
[Sidenote: =Other European Countries=]
Space forbids us to go into detail as to the opera houses of Sweden
(Royal Theatre of Stockholm), Norway (National Theatre, Christiania),
Spain, Holland, Belgium (Brussels, Théâtre de la Monnaie), Denmark
(Copenhagen, Royal Theatre), or Portugal (Lisbon, San Carlos). The
latter is, however, of special interest in being one of the oldest
houses of its kind, having been erected in 1793. Information as to
the subsidies received by these and other theatres will be found in
Appendix B.
[Sidenote: =Egypt=]
[Sidenote: =America=]
Of opera houses outside Europe it will be perhaps sufficient to mention
those of Cairo and Alexandria (the former of which saw the production
of Verdi’s _Aïda_ in 1871), and the American houses (New York, Boston,
Philadelphia). The New York, the Metropolitan, and the Manhattan opera
houses witness very magnificent performances, and command the best and
most expensive talent in the world.