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_.