Year: 1875

INTERIOR DEFECTS OF THE PARIS GRAND
OPERA HOUSE.


Outside, the opera is not failure


inside, it is fasco. 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 ao'


cepGed BY NJ. 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
POpera. 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 eoun-


try can show grander or more impos-


ing structure but when left to himself


GARNER proved unequal to his task.


The main sGlle is small, squatty, if I


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, but not
as necessary as good central sale.
The entrance and the grand staircase
qre also magnificent, and Paul Baudry
has decorated the togers with some very
fine work of art; but, beyond this, I
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 a break-neck step
at the entrance of each. I 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
goSgno6res are simply detestable, and
one might as we'll 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-coop allowed
them in the loft is not even decent.
Everything has been sacrificed to the
toyers, as I have before remarked, and
to the front tiers of boxes held by rich
IL was for this reason that
the director was allowed TO raise his
prices, for since ERglish 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 disappointment, but
was informed that everything would be
right when the house was lighted. I
waited in patience to see the result.
My second visit WIS still greater dis
and / must say that, in
my opinion, the sale of the imperial
opera of Vienna is infinitely superior |
to this in every respect. But the grand
monde of Paris can meet in these splen-
did fogers on the aristoeratic 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
lew of them viii have the pleasure of
on subscription nights. /
very much fear that this system will
prove costly one. English and Amer
can visitors may go once to see the
house, but they will probably keep their
money TO spend elsewhere when they
ind that they can only go off nights,
md see only the bourgeoi8ie. - Paris
Letter.