class="tdl">Stuttgart       }

The subscriptions are divided into four series, giving each the right to two performances weekly, but of course anyone can subscribe for more than one series. A yearly subscription comprises—at Berlin and Prague, 280 performances; at Vienna, 260; at Munich, 228; at Wiesbaden, 200; and at Frankfort, 188. To subscribers the prices of stalls are as follows:—

These figures suffice to prove the colossal benefit princely patronage and subvention bestow on the theatre-goer, in putting a favourite entertainment within the reach of the masses. Moreover, the German opera-goer is catered for both in quality and quantity.

As regards quality, he has the pick of the masterpieces of every school, nation and repertory. Gluck, Spontini, Cherubini, Auber, Hérold, Boieldieu, Mozart, Beethoven and Weber hobnob on the yearly programmes with Wagner, Verdi, Mascagni, Puccini, Giordano and Leoncavallo, to cite a few names only. As regards quantity, the following details speak for themselves—I take the theatrical statistics for the year 1895-1896:—

The Berlin Opera House produces 60 various works—52 operas and 8 ballets.

The Vienna Opera House 74 works—53 operas and 21 ballets.

The New German Theatre at Prague—45 operas, 11 light operas and two ballets.

The Frankfort Theatre—60 operas, 11 operettes, 4 ballets and 13 great spectacular pieces.

At Carlsruhe—47 operas and 1 ballet.

At Wiesbaden—43 operas and 6 ballets.

At Darmstadt—48 operas, 2 operettes and 5 ballets.

At Hanover—37 operas.

At the National Theatre, Prague—48 operas and 6 ballets.

At Stuttgart—53 operas and 5 ballets.

At Munich—53 operas and 2 ballets.

At Dresden—56 operas, 5 ballets and 4 oratorios.

These are splendid results of enterprise properly encouraged, and I am giving only a fraction of the information in my possession, for there are no less than ninety-four theatres in Europe, where opera is performed in German, and of these seventy-nine are sufficiently well equipped to mount any great work of Wagner's, Meyerbeer's, etc.

Most of these theatres produce every year one new work at least, and thus the repertory is constantly renewed and augmented.

Every German theatre has attached to it a "choir school," where girls are admitted from their fifteenth year and boys from their seventeenth. They are taught solfeggio and the principal works of the repertory. The classes are held in the early morning, so as not to interfere with the pursuit of the other avocations of the pupils; but each receives, nevertheless, a small yearly salary of 600 marks (£30). These studies last two years, and during that time the pupils have often to take part in performances, receiving special remuneration for their services. When they are considered sufficiently well prepared, they pass an examination, and are appointed chorus-singers at a salary of 1000 to 1800 marks (£50 to £90) a year, and are entitled besides to a special fee (Spielgeld) of 1s. 6d. to 2s. 6d. per performance for an ordinary chorus-singer, and 2s. to 5s. for a soloist. If we reckon that a chorus-singer, can take part on an average in some 250 performances in a year, at an average fee of, say, 2s. each, we find that his income is increased by a sum of £25, a very decent competence. Nor is this all. In the smallest German towns, in the most modest theatres, there exist "pension funds" for all theatrical artists and employés. These funds are fed:—