Kitabı oku: «The Operatic Problem», sayfa 2
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.
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.
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: —
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: —
