STARS AND THEIR SALARIES

Press, Volume XLVII, Issue 7573, 9 June 1890, Page 6

STARS AND THEIR SALARIES

U. mc. Jane Hading, the distinguished French actress, sends to QoHgnani's Mentngtr some jottings upon the salaries of singera and actors in the past and the present.

__tE BEGINNING OF HIGH B____.Blß3. The race for big salaries began In Franco under the First Empire. Napoleon' sought to bind Mdme. Catallnl to the Grand Opera by a contract assuring her £4000 a year-ah d two months' leave; but In spite of wishes, which were usually looked upon as orders, tbe celebrated cantatrlce privately left Paris for Loudon, where she received double. To play at Erfurt before the famous "parterre of kings," Talma, tbe tragedian, was paid £10 a night and £2 tor extras, which was accounted a large sum in those days. Rachel first entered the Theatre-Francais at a fixed salary of £160 a year; but what with conge a and extras and benefits, she was making £6000 a year before she left the stage of that house. A magnificent engagement was that of Jenny Llnd with Mr Barnum. It stipulated for 150 performances during the space of eighteen mouths: the Swedish Nightingale waa to receive £200 a night and to have all her travelling and hotel expenses paid, including those of five persons who accom? panied her. In guarantee Mr Barnum de* posited with Messrs Baring Brothers, tho London bankers, a sum of £80,000, covering the whole engagement. In her tour throughout the United States, which Stated eighteen months, the famous ballet oncer, Fanny Esler, cleared £23,000. Others, however, have since then made much larger sums in far less time. The times have changed, indeed, *eiuce the royal comedians of the Little Bourbon Theatre, under the management of Mollere, drew only a pitiful salary of 300 llvres whenever there was enough money in the cash box for them to do so. Paulus, the music-hall singer, makes as much in a few hours, Faure with three bars of music, Mdme. Tn6o with a couplet, and Patti with a note. OPKRATXO RALARUS. The famous tenor, Tamberlik, who died in March, 1889. at tbe age of sixty-nine, was offered £5630 annually to slug at the Grand Opera In Paris, which offer he declined. Mdme. Mallbran used to receive £150 ia London every evening; Grisi and Persian! would not sing there under £200 a night. while in Paris divas like Falcon, Damoreau, Cabel, Sasse, Carvalho, who were unquestionably as highly gifted, never came within measurable distance of fuch prices. When It became known that )uprez, the marvellous tenor, had asked £4000 from M. Dupouchel, the director of the Paris Opera, the news almost caused a revolution. The whole press was in arms, , the Bourse grew alarmed, and lively ques- . tions were addressed to the Minister of I Fine Arts. Duprez held out and won the day. : In the provinces he never sang under £40 a night. Patti was the first cantatrlce who demanded and obtained in Paris a nightly salary of £400. Her example was at once followed by several of her rivals; so that, to sustain her supremacy In the operatic market, she gradually-raised her price to £609, which sum she received for each of the three concerts she gave in one week last year at the Eden Theatre In Paris. " These are not notes, but bank-notes, that come from her lips P said a wag. Quite recently the tenor Tamagno was engaged at Rio Janeiro for £100 a night, at the rate of ten performances a month during the operatic i season. GAB___LLX AND THE CZARINA. When Gabrielli, the celebrated singer went to Russia In 1768, she astonished Catherine 11. by demanding 5000 ducats as salary for a two month's engagement. j The Empress demurred, saying that the sum was even higher than the pay of any of her field-marshals. To which Gabrielli simply replied, "In that case, let you Majesty's field-marshals sing for you 1' The Empress paid the 5000 ducats. THE XNCBEASB IK DBAMATIC SAL ABIES. As regards actors, there is also an up ward movement in the salaries of the dramatic profession—l mean the salaries of men and women who have made a recognised position. Quite recently I heard of a young actor who had signed a fresh engagement with his manager for £45 a week, and he is by no means the most important personage In tbe theatre, which owes much, I must admit, to his intelligence and industry. He is the jettne premier or «* leading man," who Is, of course, a very conspicuous member of a good company. At least £40 a week must be paid at any respectable house for a leading man, and a good second is worth £30 a week. SUPPLY AND DBH-ATSD. There is too much competition in management, say the directors, and it is this competition that raises the price ot salaries. But a great singer, as well as an actor or actress, is worth just what he or she' will bring. If she commands public attention and brings £1500 or £1000 a night, she is always worth £1000 ; while if she is only the side light to a big play, she may not be worth £10. It will, no doubt, have startled the old-time actors if they had been offered the salaries that to-day ore paid to members of their prof easloa. The ** stars " have always enjoyed big returns; but tho people who'had failed to reach the stellar heights never dreamed of tho weekly stipends that to-day rule the pay-roll. Of course the actor far down in the list has little more than suffice- to reward him for his physical exertion In walking through a part, his talents remaining unremnnerated until they make their way from under the bushel. It is hard to strike an average when talent varies ao much, and rewards accordingly differ; but a general idea may be given, leaving out the exceptions. A heavy man In Paris may be contented with £8 to £10 a week ; while Mb opposite, the low comedian, gets £10 to £12. Soubrettes, X bright and pretty, obtain &1 to £10; and polished villains a little more for their crimes. Old mien and old -women are content on £6 to £10, while the minor lights abide tor from €3 to £6 each 1