The New York herald., 1879-03-09
Anecdotes and characteristics of the
Manager of the Opera
NM. MEILHAC AND KALEVY.
EamuaDm On the Paris Stagss-M Eaa's "Llsm-
nau- The Judgment Of Paris.
THE RESIGNATION OF N. HALANZIER

PARIS. Feb 16 1879.
Since the war and the fall of the Empire the taste
Tor the theatre. which at all periods has been very
marked in Paris. has developed in an extraordi-
nary manner Balls soirees and official iates no
longer numerous formerly. There is less dane
Ing. but there is more music. The Parsian. to sat
isfy that irresistible need of movement which takes
him continually from homo. and eager for amuse-
ments frequently renewed. rushes to the theatre
with feverish earnestness- And everything that
ates 20 it interests himthe piece. those who have
written it, those who play 1t. the director who has
mounted it. the stage manager who has superin-
tended the scene. the couutave who has
prepared the costumes Of the leading actress. tn
painter of the sensational scene the journalist in
trusted with the task OF crticsing the first repre-
sentation. and the cocots who occupies the ara,st
scxe at this solemnity. Consequently the Paris
journals-even the most serious-have for some time
past devoted good deal OF space theatrical mat
ters
THR PARTISAN THE THEATRE
The most insignificant occurrence that takes
place any of the theatres at finds its chroni
cers. The dongs Of Theresa of Mile Granier and Of
Mile Croisette events compared with which
the most serious political evoutions paled in in
terest. The principal event Of the last fortnight
in theatrical and musical circles has been
the resignation Of NJ. Halanzier Director OF
q
question has occupied public attention-that of
the direction of the Opera. The present system
that of director appointed by the government and
conducting this great establishment at his personal
risk ard per-exacted merely the deposit Of half his
profits In the Golfers of the State. This system at
once simple and practical, was productive of such
excellent results that it thought it could be ad
vantageously replaced by another. Numberess dis
cussons took place to solve the question whether it
would not be better to direct the Opera by func
tionaries. and several combinations all of them i'm
practicable. proposed. The director, M. Halan-
zier whose authority had nothing to gain by these
passionate debates. which carried at his
pense, flung his resignation in the face of all the
reformers of the official academical, municipal par
amentary and other commissions. He will therefore.
only remain at the Opera until the termination of
the privilege accorded him-that is to say until $780,
n. HALANzIER's RESIGNATION
M. Halanziers letter to the Ministre des Beaux
Arts was published on the same day that Marshal
MacMahon placed his resignation in the hands OF NJ.
Dufaure. The National Academy of Music. there
fore. occupied it's share of attention that day at
the Palace of the Elysees The two designations
the subject Of common discussion in Partisan
circles. But while of the departure of the
President of the Republic received with perfect
calmness that of the retirement of NJ. Halanzier
q
serious advantage over the Marshal; he left gal,e
much difficult to steer than that of the State.
And yet although the Marshal had only served FIVE
years and half of his sepenaat. n. Halanzier had
served out at the Opera full years. Besides
every knew that the day following the resig
nation Of the chief the State he could be easily
placed and his successor was even named while it
Is still moot question who is to succeed to NJ.
Halanzier. For the Opera there is no NJ. Grevy
hand. But when say this 1t must not be assumed
that candidates wanting No! far from it, On
the promenades, the boulevards. in the passages
of the theatres, We. meet only people who whisper
mysteriously in your ear:"Keep the thing to your
SELF I have been appointed Director Of the Opera.
have the Minister'S word for it,. But it is not easy
to replace-and that for a permanence-a man
like M. Halanzier. The Opera is world that
has to DO kept in movement and governed.
Since the opening OF the house
everything has assumed colossal proportions there.
During his long management the resigning director
had put in force the most absolute maxims of per-
sonal power NJ Halanzer ruled not merely
master. but almost tyrant. Everything moved
aud still under the impulse of his single will.
lie arrived in his Office at o'clock in the
ing with the punctuality of the humblest employe,
and he left his post in the evening only after the
hearsal the performance, taking scarcely the time
necessary for his meals. He is rarely to be seen
fortune he narrates willingly and that to every one
the history OF his humble beginnings. how he made
his debut in the profession by himself dragging in
handcart his scenery to the theatre. In his career
provincial manager he learned everything that
theatrical director can acquire Nothing therefore,
escapes his observation. He personally superintends
vocal and ballet rehearsals the preparation of the
costumes. of the scenery the machinery and tine ad
ministration of the theatre. From hour to hour
bulletins brought to him showing him the exact
receipts at the box office and entrance lists. Not
single ticket given to journalist without his CON
ppnt. n ~ a.
everything, hears everything. Very severe with his
personnel subject to violent fits of anger when he
hnds himself imperfccty understood badly Sec
onded, he enjoys i'll this operate world unequalled
prestige. Short stout, with legs too diminutive and
arms too long. he makes an impression on every
by his extraordinary energy and his untiring ASST
duty. When he says he wants thing done every
bows In submission. Ii Is true that he only
wants what is possible aud that he stops ut nothing
THE DIRECTOR AT HIS WORK
For example, they are performing just now at the
Opera charming Japanese ballet. "Yedda;" the
music Of which is by NJ Olivier Metra. the celebrated
author of the Valse aux Roses" At a certain mo-
the heroine of the ballet should place her foot
a nenuphar leaf floating on the surface of lake.
and the flower instead of sinking should transport
her TO an enchanted region. AT the rehearsal this
arrangement did not fail to awaken the apprehen-
sions Of the principal danseuse, Mile. Rita Sangai
whom your New York readers cannot have forgotten.
and who is at present the premier sujet at tho
National Academy OF Music. This voyage on the sur
necessary for mademoselle to place her foot
exactly upon the leaf failing to do which
painted stun initiating the water and Of being
precptated to the bottom of the theatre. Mile.
Sangalli hostated Although gifted with fair share
Of Will and courage the adventure OF the leaf seemed
TO her perilous affair. NJ Halanzier endeavorod at
hrst to persuade her to attempt it, then under.
standing that his eoquence was likely to be wasted
on her he had a sudden inspiration. "You will see.
hc said to her. "that you incur danger; aud Civ
ing orders to the machinist to set in motion the
mechanism which caused the nenuphar Leaf to
traverse the water he placed himself upon IL and
gided over the surface in the pose Of tho famous
nyllFA .f fha
Bastille But this not the first occasion
which NJ. Halanzier made trial of tho
solidity of his machinery in presence of his artists
1n circumstance which occurred a long time
ago when he was provincial manager, his inter-
ference in this respect was near costing him dear
In piece. the name OF which has escaped my mem.
DRY. beautiful young girl to have represented
at q particular moment cupid returning to the
skies" The pretty child to have been raised
the cnrth 10 disappear La the drop.. hut all