New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-04-20
STAGING IN OPERA.
MANY DIFFICULTIES HAVE TO BE OVER
COME TO PRODUCE GOOD RESULTS.

"How long does it take to stage opera?"
Of the officials of the Metropolitan Opera House
asked
AN interminabe period, if ell engaged in its
presentation have satisfied themselves that they
have followed closely as possible the ubretto.
In scenery the composer, like the artist, wants to
grasp Nature and put her on paper-in fact, fire.
Quently tries to Guido her-and those who are re-
producing his work often strain for effects which
Nature is careful shall not be reproduced. but
may be simulated. Thus. must be satisfied 10
simulate, for may never reproduce
Take the first presentation Of Manru' at the
Metropolitan Opera House, for example. We knew
that the short time given to produce it meant
imperfect work. and adverse comment was heard
from operagoers the lack Of stimulation In the
scenes. the want Of ensemble in the chorus sing
ing, and If the music lover could estimate
the time thought, watchfulness and creativeness
necessary to produce perfectly the work of a COM
poser. criticism by him would be in the line OF
friendship
The regions beneath. behind and on either side Of
the stage which the labor of preparing an opera
for production goes on are busy places. Here are
the rooms of the musical conductor. the stage man
ager the scenic artist, the costumer. the property
master the gas engineer and electrician and the
master carpenter, with rooms for modelling and
casting and property storerooms
The first step in the presentation Of an opera Is
taken by the managing director, when he hands the
libretto to the members OF his staff. to study the
designs for scenery, costumes and other properties
The property master makes out a list or the ar
ticles TO be manufactured in his department. The
scene painter studies to idealiZe nature. and in
order that his models may be perfect representa-
tons on small scale of the scenery as 1t is actu
ally to be he has in his studio a facsimile in
miniature of the stage and flies. The scenes are
made of pasteboard to admit easily of altera
tions to meet the work of the stage manager, the
designs of the costumer and the product of the
property room. The costumer and his numerous
assistants set to work to design the dresses for
Shoc ffc f0r he knipp re
or burghers. This work is not of small proportions.
when one considers that an ordinary operate pro-
duction calls for costumes for from three hundred
to four hundred persons. and means the making.
reftting and mending of that number OF garments
and the inspection OF each garment every Day
To saw that the stage manager, the scenic artist
and the costumer work together but poorly con-
yeys to the operagoer the real duty deVoIVlhg on
each of them.
AS soon as the scenic artist and the scene
nainters have finished their work scenic rehearsal
is ordered by the stage manager The scenes are
set up and changed light effects are tried ana
mechanical properties are tested until Things run
smoothly the stage manager and scenic artist
comforting and suggesting changes, such as the
bringing out of bit of perspective. the moving Oh
this or that bit of property to hide perpiexing
gan etc Everything is now ready FOR the re-
hearsai by the principals, chorus ana orchestra
IT. .r,ists have been rehearsng for many weeks,
and the chorus has had some twenty rehearsas
under the direction OF the chorus master linen
there are the ballet and many supers TO grill IN
some operas the ballet exists merely for the sake OF
forming pretty adjunct to seene. without regard
70 truth historically or locally.
,-,ree or four calls for rehearsal are sometimes
a...arv before the drilling of the chorus and the
stage business of the supers are satisfactory
m the stage manager. who is responsible for
,at ,s called the business" of the piece
che grouping of the choruses and supers. the
nr,nrng on of professions. the positions of the
,re,nals though these last named are allowed
nd he's
b. him long before the rehearsals begin Indeed
many weeks before the chorus see note OF their
,nusic the stage manager determines from what
-, of the stage each phrase Is to be sung. When
ha recefves word that a new opera Is to be pro-
soes he tntsrpolates the piano score with blank
-, anon which he notes what is to occur stimuli
,oneously with the playing of certain bars OF music
-, the oape opposte-a change OF scene, light
Get the entrance of procession, the exit of
harac.er n change in the position Of the chorus
- .be beginning OF the ballet The bar OF music Is
the stage managers cue and he In turn mas signals
g. those whom it calls into action After these
obaarsaIs two take Mace in which are the arls's.