class="figcenterdd c6"> Profile of the Paris Grand Opera. (Note That the Stage Section Is Larger Than the Auditorium. Also Note the Immense Space Given to the Grand Entrance Stairway.)

A World of Detail

Few people have any idea of how many persons and how many departments are connected with the opera and its presentation. Considering them in order, they might be classed as follows:

• The General Manager and his assistants.
• The Musical Director and his assistants.
• The Stage Director and his assistants.
• The Technical Director and his assistants.
• The Business Director and his assistants.
• The Wardrobe Director and his assistants.
• The Master of Properties and his assistants.
• The Head Engineer and his assistants.
• The Accountant and his assistants.
• The Advertising Manager and his assistants.
• The Press Representatives and his assistants.
• The Superintendent and his assistants.
• The Head Usher and his assistants.
• The Electrician and his assistants.

Few of these important and necessary factors in the production ever appear before the public. Like the miners who supply us with the wealth of the earth, they work, as it were, underground. No one is more directly concerned with making the production than the Technical Director. In that we are fortunate in having the views of Mr. Edward Siedle, Technical Director of the Metropolitan Opera Company, of New York. The complete picture that the public sees is made under the supervision of Mr. Siedle, and during the actual production he is responsible for all of the technical details. His experience has extended over a great many years in different countries. He writes:

The Technic of the Production

I understand you wish me to give you some idea of the technicalities involved in producing the stage pictures which go to form an opera. Let us suppose it is an opera by an American composer. My first procedure would be to place myself in touch with the author and composer. After having one or two talks with them I secure a libretto. When a mutual understanding is agreed upon between us as to the character of the scenes required and the positions of particular things in relation to the business which has to take place during the performance, I make my plans accordingly, and look up all the data available bearing upon the subject.

It is now time to call in the scenic artist, giving him my views and ideas, so that he can start upon the designing and painting of the scenery. His first design would be in the form of a rough sketch and a more clearly worked-out ground plan. After further discussion and alterations we should definitely agree upon a scheme, and he would proceed to make a scale model. When this model is finished it is a perfect miniature scene of the opera as it will appear on the night the opera is produced.

The author and composer are then called in to meet the impresario and myself for a final consultation. We now finally criticize our plans, making any alterations which may seem necessary to us. When these alterations are completed the plans are handed over to the carpenter, who immediately starts making his frames and covering them with canvas, working from the scale model. The scenic artist is now able to commence his work in earnest.

The "properties" are our next consideration. Sketches and patterns are made, authorities are consulted, and everything possible is done to aid the Property Master in doing his part of the work.

Unless the opera in question calls for special mechanical effects, or special stage machinery, the scene is adapted to the stage as it is. If anything exceptional has to be achieved, however, special machinery is constructed.

The designing of the costumes is gone over in much the same way as the construction of the scenery. The period in which the opera is laid, the various characters and their station in life, are all well talked over by the composer, author and myself. The costume designer is then called in, and after listening to what every one has to say and reading the libretto, he submits his designs. These, when finished, are criticized by the impresario, the composer, the author and myself, and any suggestion which will improve them is accepted by the designer, and alterations are made until everything is satisfactory. The designs are then sent to the costume maker.

The important matter of lighting and electrical effects is not dealt with until after the scenery has been completed, painted and set up on the stage, except in the case when exceptional effects are demanded. The matter is then carefully discussed and arranged so that the apparatus will be ready by the time the earlier rehearsals are taking place.

The staff required by a Technical Director in such an institution as the Metropolitan Opera House is necessarily a large one. He needs an able scenic artist with his assistants and an efficient carpenter with his assistants to complete the scenic arrangements as indicated in the models. The completed scenery is delivered over to the stage carpenter who has a large body of assistants, and is held responsible for the running of the opera during rehearsals and performances. The stage carpenter has also under his control a body of carpenters who work all night, commencing their duties after the opera is over, removing all the scenery used in the opera just finished from the opera house and bringing from the various storehouses the scenery required for the next performance or rehearsal. The electrician is an important member of my staff, and he, of course, has a number of assistants. The Property Master and his assistants and the Wardrobe Mistress and her assistants also are extremely important. Then the active engineer who is responsible for the heating and ventilating, and also for many of the stage effects, is another necessary and important member. In all, the Opera House, when in full swing, requires for the technical or stage detail work alone about 185 people.