Evening star. [volume] (Washington, D.C.) 1854-1972, 1895-05-25

and open to all corners, even those who
take the cheapest seats. in the top gallery.
No difference is made between the Gus
toners of the orchestra chairs at three dol
lars and twenty cents each and the hot
tribunes in the roof, where you are asked
to give up fifty cents.
The visitor has opportunity to note the
real magnificence of the auditorium, the in
creasing brilliance of the audience, the i'm
mense size of the orchestra, and air of
richness. of finish and of greatness which
opera houses.
But one thing is lacking, and that is the
serious attention which in English, Ameri-
can, German, Spanish. yes, and even Ital-
ian audiences, is the sign of love for music.
Till you are used to it, there is some thing
almost jarring in the sound of caramel
sucking, proSram-rattling, body-sQuirming
and skirt-switching French vivacity, not
to speak of the low hum of whispered con-
versation, creaking shoes and slamming
doors. 1t makes it difficult at first to
breathe in the full spirit of the opera in
this tapage, which goes on unceasing till
the favorite aria, perhaps, has quieted
down the people for moment. You can
not hear a pin drop at the Paris opera.
Why should you? The opera is a place
it has become so-for display and mutual
recognitions. 1t is like great cafe for the
aristocratic world of wealth in the French
capital. The government contractors who
administer the monument are not unpleased
that this should be so; for it justifes them
operas yearly as they may by the terms
of their contract. Indeed, it happens some
times that instead of bringing out the four
new pieces yearly, to which they oblige
themselves, they choose to pay the stipu-
lated forfeits to the government and bring
out but two or three. They have for their
excuse the. fact that the great public
comes in any case And, further, 1t is a
real hardship to them from an enterprising
business standpoint to be tied down to the
expensive red tapism, against whose bur-
den it is hard to struggle profitably. For
it should be known that the actual direc-
tors of the opera are private spectators.
They are appointed to their places for
period Of years. The opera and its stock
are handed over to them. The prices for
seats are dictated to them, well as the
number Of obligatory representations year.
ly-obligatory not only in the winter, but
in summer as we'll. They are bound to give
SO many popular representations at re-
duced prices, to give preference to the
works of such French composers as have
distinguished themselves at the Conserva-
toire in their selection of new operas. and,
lastly, are forbidden to reduce the blessed
civil service personnel or any of their sal
aries. 1t is small wonder that the Paris
opera is conservative.
And it results from this that the Pari-
SLAMS are. in matters of modern music, the
most ignorant people in the world. 1t would
be easy to name offhand dozen world
famed operas which have never yet had
hearing in the gay French capital, yet each
ana every one OF winch are wen IdInlildr 10
Americans. There is the "Mefistofele" of
Boito. the Life for the Tsar" of Glinka,
the Demon" of Rubenstein, Goldmark's
Queen of Sheba," to say nothing of the
Wagner pieces and the modern Italian
school.
This is heavy price to pay for govern
ment assistance to the musical composers
of ones country. Still did results show
constant fame of genius the Parisians
might count their loss a gain to their dear
patrie and the world at large. Unhappily,
the results show nothing of the kind.
The year 1898 saw the production of but
single new piece by French composer
the "Deidamie" of Marechal which ran
nine nights and stopped (Chabriers Owen