The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-04-14
EVOLUTION OF OPERA
EARTHUR n. CLARK RELATES IT'S
HISTORY IN This COUNTRY.
ssPrince Ananias'' One Of the Best
Types OF the better Glass Produc-
tions--Bostoninns This Week.

have charge of the Bostonians, who appear
here this week They are thoroughly famil-
far with all the acknowledgements details
of light operatic productions and a perusal
Of the following interesting article by Mr..
Clark on the evolution of light opera will
not be time thrown away. Mr.. Clark says:
The evolution Of light opera in this
country within the last twenty-five years
makes rather an interesting history. for it
tainment in America has crystallized. SO
10 speak. One does not have to be very
Marths tho Bohemian Gr TR eri chimes
or Normandy and primitive conditions gem
orally. Those we're the. happy times. the
when operas were common property and
such a thing as paying royalty to an
content to court fame Independently of
money and these hard, practical days when
missions and money down before begin
ming work and percentage and royalties
after the work Is completed were not even
The cost of producing opera twenty
Ive years ago was a mere bagatelie to
opera which is to-day most important
and expensive item, then represented no
outlay. large list of operas was open
IL any manager thought of providing special
costumes or scenery. or any of the lnnum-
cradle special features which give to pres
ent operate performances so much of their
attractiveness his business associates
mission to look into his sanity. The stock
scostumer kept outfits more or less COM
cia Cali LEGEND reads and n the costumer with his
stock outfit constituted the sole fountain
head OF supply TO the Chimes OF 1 nor
often incongruous or a trifie misfit did NOS
seem to matter much to the theater-goer,
who was inclined to view the performance
through uncrtical lorgnettes.
1.-THE inconsistencies of scenic environ-
ment did not disturb the generous. ana Tor for
tops with remarkable frequency, and all
audience without exciting unfavorable crit
fcism. Nor had the era of big salaries be-
s sn person well sehooied in music,
to enter on an operate career. Sixty dol
lars a week was princely stipend, and the
fruit of Bohemian life what his or her -po-
sition lacked in the way of salary The
chorus looked on merely as q neces-
sary evil, and time and harmony were lost
qualities-in fact, every one kept time
nicely with HIMSELF, and it was a matter
IL the chorus sang in tune.
THE SCENE CHANGES.
Shifting the scene to the present day,
1t is not too much to say that the magni-
tude of present comic opera is tremendous
In comparison The public of to-day not
only requires opera to be thoroughly pre-
scented, but novelties must be given from
time to time by any organization desirious
of retaining public favor, and the old pieces
are left to the more or less tender mer-
cies of the cheap repertory companies.
Some idea of the unceasing work and eff
fort required to keep directly in touch with
popular fancy is furnished by the history
of the Bostonians, which organization has
presented for 80 long time what a thor
ougn ngnt opera company should be- 1t
at least two new works each season. and
these are only secured after examining
hundreds of offerings, which in itself en-
tails never-ending work. for the reading of
opera books and the listening to music as a
steady. all,year-round job is trying.
that. the hard work and heavy expenses
really, begins. First, the music. which
usually consists of q piano score, must be
orchestrated, and then the music parts
must be copied, for every chorus girl must
cipals. who sing arias. The libretto must
be printed and the speaking parts copied
also. Ihen comes the problem of engaging
authors reserve the right to select the art
lists, which means much tribulaton to the
Having secured the cast Of principals
and musical director, then anywhere from
speak politely chorus ladies'. sA must be be-
round. In this day of public exactitude,
s voices that previously We're heard in prin-
cipal roles are hardly good enough for the
chorus, and, besides, the girls must be
pretty. But at last these are selected, and
must be engaged to produce sketches for
costumes for the whole work from the
these sketches are ready. they must be be
taken taken to a e cost to be embodied in
them must go and be fitted.
when Prince Ananias'' was in rehearsal
first, the Bostonians were playing an en-
the principals had to take the train to
New York and have a siege with the cos
to railroad time table is l not such che iar are
Gus sport as many might suppose. Inas-
much as the principals and chorus often
have from four to six changes in an opera,
one can readily form an idea of the task.
While all this is going on scenic artist
and constructed models of the scenic effect
and stage sets. When these have been
approved; scenic artists and stage carpen-
ters go about building and painting scenery.
which I'm these days must be elaborate.
The propertyman also comes in for his
from careful study of the libretto, makes
up list of the properties to be used. and
from sedan chair to a basket of fruit.
SIX WEEKS FOR REHEARSAL.
s'By the time these things are under way
the manager has secured theater for his
production, and rehearsals begin, usually
six weeks before the day of production. In
dramatic companies two weeks are given
for rehearsals, but opera requires six, and,
therefore. the manager is called on TO pay
something ike nail salaries 10 mis- chorus
and the expenses of the principals during
this period. A producer must be engaged
that is, producing stage manager-and he
comes high. His task is to take the people
In hand and drill them in the stage work.
While the chorus master, under the direction
OF the musical director, coaches them in
the music. For six weeks this work goes
on, day after day, until those engaged in
it are half worn out, but between rehearsals
they must attend the costumer and be
fitted, and the Dootnaker, and the wig
maker. ard all the other furnishing agents,
and there is no escape. The manager must
listen to hundreds of appeals. overcome
hundreds of difficulties of everybody, see
that the costumes are ready in time, that
the scenery is complete when wanted. that
the rehearsals have resulted In the possi-
bility of a smooth first nights performance,
and must pay enough bills to make a gov
eminent paymaster tired.
..In addition to all this, printing must be
designed with which to advertise the at
traction sketches for Autographs examined
orders placed with the printers, sittings
arranged with photographers, and numerous
sessions held with frame makers. billposters
NES Tho RaSf