Year: 1875

INTERIOR DEFECTS OF THE PARIS GRAND


OPERA HOUSE.


Outside, the opera is not failure :;
inside, it is a fa8co. Some years ago,
when Baron Haussmann was remodel
ing Paris, the drawings of M. Charles
GARNER, architect, were accepted for
the national opera, because it entered
admirably into the general plan. The
center of Paris, the junction of SO
many fine boulevards, had to have a
grand monument, and the enormous
building planned by GARNER was &C
cepGed By M. Haussmann. But he him
self made many changes in the plan, for
the benefit of his own plan. for the
streets to center at the Place de
TOpera. GARNER changed his model
and estimated the cost of his building
at some twenty million francs. But
forty three millions of francs were swal-
lowed up before the house was near
completion. The outside, constructed
under Baron Haussman's eye, is as fine
as anything in the world, and no coun-
try can show grander or moro impos-
ing structure but when left to himself
GARNER proved unequal to his task.
The main sale is small, squatty, if 1
may use the term, badly lighted, badly
constructed, and with boxes very badly
disposed everything has been sacri-
feed to two or three showy fOyerS
which are marvellous, it is true, bat not
as necessary as a good central sale.
The entrance and the grand staircase
are also magnificent, and Paul Baudry
has decorated the foyerS with some very
fine work of art but, beyond this,
can say very little good of the boasted
monument of high art in France. The
boxes are narrow and there is a man
trap in the shape of break-neck step
at the entrance of each. [ must warn
all who hope to visit the opera during
the coming season to remember this
step, or they may get an ugly fall. The
gaignOires are simply detestable, and
one might as well be in a cellar. The
grand chandeliers shed but a gloomy
light upon the lower part of the hall,
and even the boxes on the first tier are
not as roomy or as well lighted as those
of the old opera in the Rue Lepelletier.
And stranger still to say, in this thea
ter, built at the expense of the entire
nation, there is absolutely no place for
the people. The chicken-c coop allowed
them in the loft is not even decent
Everything he's been sacrificed to the
foyers, as 1 have before remarked, and
to the front tiers of boxes held by rich
sub. cribers. It was for this reason that
the director was allowed to raise his
prices, for since Eaglish and American
visitors will occupy them on off nights,
it is necessary to make them pay as
much as possible. My first visit to the
building was a disappointment, but I
was informed that everything would be
right when the house was lighted.
waited in patience to see the result.
My second visit WIS still greater dis
appointment, and I must say that, in
NY OHIulODs bIIO OLCCC VI GIO 4uupoI1d1
opera of Vienna is infinitely superior
to this in every respect. But the grand
monde of Paris can meet in these spleH-
did foyerS on the aristocratic nights,
and for this the foreigners in Paris are
expected to pay on the off nights, the
prices having been raised to this end,
and for very long time to come very
few of them will have the pleasure of
assisting on subscription nights. I
very much fear that this system will
prove q costly one. English and Amer
lean visitors may go once to see the
house, but they will probably keep their
money to spend elsewhere when they
find that they can only go off nights,
and see only the bowgeoi8ie. Paris
Letter.