Scan 27
Musical Courier 1902-08-27: Vol 45 Iss 1170, 1902
30 lines. Read by computer on 21 September 2026. Printed page 28. See the scan on archive.org.
1LATE PARIS NEWS.
3PARIS, AUGUST 12, 1902.
5As most readers of THE MUSICAL COURIER are aware, there are four theatres in Paris subventioned, or subsidized by the Government—two for opera, two for drama. Those devoted to operatic performances are the Opéra, or, as it is sometimes called, l'Académie Nationale de Musique, and the Opéra Comique. At the first named are given representations of grand opera; at the latter operas of a less elaborate or grandiose character. There has generally been a third lyric theatre, either for opera in Italian or else for works of modern French composers who cannot find a hearing at the two national opera houses. This third theatre for opera has been for some time in abeyance, although sporadic efforts have been made from time to time to revive it. Last year there was a season of grand opéra and opéra comique given on alternate nights at the Château d'Eau Théâtre, rechristened the Opéra Populaire. This season a similar season is to be given, beginning this week at the Théâtre Sarah Bernhardt. These, however, are, and have been, private enterprises, unsupported by Government aid. But there is a project on foot for another opera house in Paris, to be supported by the Government and the city of Paris, and its object is to give good performances at very modest prices. The répertoire is to be drawn from the masterpieces of all countries and composers, given in French, of course.
7Thus, we are promised works by Glück, Weber, Mozart, Berlioz, César Franck, and meritorious operas of younger composers. We are promised operas which the other theatres have abandoned, catering, perhaps, more for the feverish craving for something new than for a demand for real merit. These works are to be sung by younger artists, well drilled, and both the house and the prices are to be for the people. The Government is to give 60,000 francs annually for its support, the city of Paris will contribute a like amount and, in addition, the theatre itself, or its rent, when acquired. Although, as I have said, there are two operas in Paris subventioned by Government, yet the city itself contributes nothing to their support. This is not the case with other towns of France, where the principal theatre in each city is devoted to opera, with a certain sum guaranteed by the municipality each year. Thus, in Lyons the contribution from the city is 250,000 francs annually for opera; in Bordeaux, 122,000 francs; in Nantes, 120,000, and in Toulouse and Rouen, 100,000 each. These sums are voted in the cities mentioned in addition to the free use of the theatre and lighting. This question of an establishment for a People's Opera was first agitated in Paris about twenty years ago. Now, it seems as if it were shortly to become an accomplished fact. M. Conyba has received the support of the municipal councillors of Paris, who recognize that the establishment of an Opéra Populaire is called for "by the wishes and needs of the people," as well as to recognize "the necessity of opening other outlets to art."
9To those who know Paris it will be hardly necessary to point out that the first difficulty would be to find a suitable theatre. There are two projects on foot. One is to take over the Château d'Eau for the purpose, the other is to transform into an opera house the immense building—now to be sold or let—the Hippodrome. The former theatre would suit the purpose very well. It is in the midst of a most populous and industrial quarter, and has recently been used for very successful performances of the "Götterdämmerung" and "Tristan." For this last season extensive alterations were made and a sunken orchestra provided. The Hippodrome would need great changes before it could be used for musical representations, but the situation is suitable, and owing to its great size it would accommodate a vast number of people. After the building comes the question of director. For the past twelve months the artistic public has been playing a mental game of chess, with the managers of the subventioned theatres as pawns. Jules Claretie, the director of the Comédie Française, who for various reasons, and for reforms he introduced, had made himself unpopular with the members of the company, was to be removed. Albert Carré, also unpopular with his troupe, was to take Claretie's place, and Capoul, who is one of the assistants of the Opéra, was to succeed Carré. For the director of this new Opéra Populaire, the present manager of the Opéra Comique is very much spoken of, which would leave his post open to Capoul, who, it is no secret, has long aspired to it.
11The great size of the Hippodrome has a great attraction for Carré, as it would give him 6,000 seats, which it is thought could be placed at the public's disposition for the very modest charge of 2 francs and 1 franc. That is, good performances of good operatic works with competent principals, orchestra and chorus at 40 cents the highest price. As the theatre is not yet secured, this question of the prices is somewhat premature. Still I am able to affirm that the project itself is decided upon. Le Monde Artisté, commenting on the scheme, predicts for it a complete success: "The musical taste of the people of France has been singularly developed and elevated during these last years. Every occasion is eagerly seized, either to perform or listen to music. Choral societies, male singing clubs, brass band organizations have so increased that they now number over 100 societies, each with at least fifty members. This year the Colonne, Chevillard and Charpentier concerts were as assiduously frequented by the working as by the middle classes. Classical works, which seemed impossible of appreciation outside a limited number, have charmed the great public, who seemed to have sworn unchanging fidelity to the chanson and operette. Beethoven, Mozart and Wagner have heard new and sonorous echoes to their sublime melodies and profound harmonies. We have always been champions of the idea, opera for the people, and have supported it with all our power."
13The Conservatoire is closed, all the examinations are finished, and professors and pupils are taking their holidays. The public distribution of the prizes gained by the laureats was made by M. Chaumie, the present Minister of Fine Arts. One thing noticeable was the number of successful women players of stringed instruments—violin, viola, 'cello. The minister in his speech publicly thanked M. Louis Diemer for having founded a prize of 4,000 francs, to be competed for every three years by those who had gained the first prize for piano playing at the Conservatoire. Also he alluded to the gift of the late Laurent Grillet in these terms: "Another pupil of the Conservatoire, Laurent Grillet, whose only earnings were his modest salary as musical director in a Parisian circus, had a passion for ancient instruments, to satisfy which he exercised the greatest economy. By his sureness of judgment and unwearying researches he accumulated a large and valuable collection, and it is to the museum of the Conservatoire that he has bequeathed the larger part of this collection. Such gifts as these are not surprising on the part of a real artist, but are, as it were, an outward manifestation of the generous soul within."
15As is the custom, the public distribution finished with a concert by the first prize winners whose professional engagements permitted them to be present. Here is the program:
17Sonata in B flat minor (Chopin)………….Mlle. Lemann
18Air, Jolie fille de Perth (Bizet)……………..M. Billot
19Third Concerto for violin (Vieuxtemps),
20Mlle. Steubenrauch
21Air, Der Freischütz (Weber)………….Mlle. Demongeot
22Scene from Mireille (Gounod),
23Miles. Van Gelder and Cortez
24Scene from Huguenots (Meyerbeer),
25Mlle. Teart, M. Aumonier
27Below is a list of the money prizes provided by various legacies to the Conservatoire, and gained this year:
29Nicodini legacy, 500 francs (double bass); Guerineau prize, 300 francs (first prize for singing); Georges Haind prize, 1,000 francs (first prize 'cello); Popelin prize, 1,200 francs (first prize, piano); Doumic prize, 120 francs (first prize, piano, females); Henri Hertz prize, 200 francs (piano); Jules Garcin prize, 200 francs (violin); Victor Girard prize for females, 300 francs (piano); Monnot prize, 600 francs (violin); Santa Colonna prize, 150 francs (singing); Prévost-Pousin prize, for females, 435 francs (com-
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