New-York tribune., 1907-11-18
FRANCE LOSES SINGERS.
HIGH SALARIES ABROAD.
Efforts to Meet Competition at
Theatres Aided by State.

Paris. Nov. 1.-THE French Minister OF Fine Arts,
in his annual report TO Parliament complains that
the higher prices paid to the theatrical and operao
stars abroad. especially in America. and 20 less
extent in London and Monte Carlo. beginning
TO attract the best talent in the statesubvenoned
theatres of France. He suggests that the method
OF meeting this foreign competition must be ssri-
Ously considered by the superior administration OF
state theatres and recommends partial
cry that the practice OF starring artists. which
brings their names too prominently to the fore.
should so far possible, The salaries paid
ar the Opera. the Opera Comique. the Coincide
FRANCHISE and the Odeon. which are subventioned
by the state TO the extent OF 14l6oo francs
nually, far below the salaries paid not only in
other capitals, bu in many instances below those
paid IN privately conducted theatres IN Paris.
Alvarez the great tenor OF the Opera who receives
the highest salary. gets only 5000 francs H.so0
month; Nine. BrevaI. the leading soprano, 75o0
francs the salaries OF other artists ranging from
5000 francs a year down TO 1900 The highest
paid dancer is Nile. ZambelH. who receives S2OO0
francs a year. Her associates in the ballet
ceve sums ranging down to 100 francs a year. At
the Opera ConiqUe the salaries are much lower
than those paid at the Opera, although Clement
gets 800 francs month and Mary Garden 1000
As the minister points out. this monthly compen-
sation is often surpassed by single nights per-
formance in America. At the COmedie FRANCHISE
stars like Mounet-Sully and Nine Bartet receive
only 1sOO francs. while at the OdeOn the salaries
hardly half what they are at the "daison de
MOliere' or course, the artists who appear at
the state theatres have other compensations-abO
ALL the traditional glory attaching theretO-and the
great stars of the Opera and Comedie Francaise
receive membership in the Legion OF Honor and the
right to pensions retirement. Nevertheless, it
is an absolute fact that the artists in many cases
have to piece out their inadequate incomes by en-
gagernents abroad and brief starring in the
provincial theatres. where local stock companies
support them. The elder Coquelin used 70 say. Il
lose 500 francs every day I play at the Comedie
Francaise."
Despite the low range OF salaries and the sub
ventions accorded by the state. the profits OF the
four state theatres are not large. Last year the
net profit AT the Opera was 81 francs The average
receipts each performance at the Opera
167Sf francs. "Ariane" being the most popular per-
formance, from a money making standpoint.
Faust coming next, followed by "Salammbo."
. Samson ct Dalila" and die Meistersinger." At
the Opera Comique the average receipts were
about 1000 francs "Manon," Madam BUTTERFLY
Carmen" and "Pelleas ct Melisande'' all proving
superior attractions TO classical OPERA like
. "Orpheus'' and 'Iphegenie en- Tauride-" At the
Coincide Francaise III pieces were given hfty-eight
in and hftyfoUr in prose, thirty-rour oeinsS
classics the entire list including the most notable
works of French dramatic authors from Moliere
n Catulle Mendes.
Recently there has been some attempt at
agitation in favor Of the termination Of the system
of subventioning theatres. but this comes princi-
pally from the provinces. where il is said the
people derive little benefit from the taxation which
they pay for theatrical maintenance The argu-
ments in favor OF continuing the system are over
whelming. Primarily. the sUbventioned drama and
opera constitute the logical sequence OF the dra-
matte and musical educational system OF France.
BY histrionic and musical law students who attain
distinction must have opportunity 70 display
their talents IN the state theatres Dramatic and
musical authors are also sure Of a hearing for
their works by the highest judges in France Be-
yond and above this there is the Just pride OF
every Frenchnan in the fact that the great state
theatres OF the country have always fOsteTed
dramatic and musical art and spread the fame
Of French genius throughout the world II is also
recognized by the more practical minded that the
state theatres constitute Of the great attrac-
tions for foreign visitors who annually spend mill
ions in Paris. AS public charity receives the
largest percentage OF whatever profits these thea
tres make. the people OF Paris naturally favor the
continuance of the system
The masses. too. come in for distinct share in
the system. 1t involves also large number OF
public concerts and representations IN the parks
and public buildings throughout the year The
Ministry Of Fine Arts has submitted proposition
to extend entertainments for the poorer classes by
the creation Of five popular theatres. one in the
central and four in the outlying districts Of Paris
These theatres he proposes. shall be subven-
toned not by direct taxation. but by the creation
OF a national lottery Of 100000 francs