BEHIND THE SCENES

Evening Post, Volume CXV, Issue 68, 22 March 1933, Page 13

BEHIND THE SCENES

UNIQUE INSTITUTION

PARIS OPERA HOUSE

Life behind the scenes of the Paris Opera House, was described by Mr. John Brownlee, the celebrated"" Australian baritone, in an interesting address given at yesterday's Kotary Club luncheon.

Mr. Brownlee said that the Opera House was unique in that it was not only a theatre where operas were performed, out was also an academy of music and dancing established with a definite purpose. It was subsidised to a certain extent by the Government, which stipulated that in return the final training of young people for the stage should be undertaken. The French people believed whole-heartedly in their own music, and in having their operas performed by French artists in the French- language. Tho staff . took charge of the young people and prepared them for tho work ahead. Mr. Brownlee said that, although he was a foreigner, he-had had the privilege of going through all the schooling given in' the theatre, and he 'knew the value of it in after-life.. . ' ': '

A, .tremendous organisation was required to run.'the' theatre/ "ann there was a pernianent staff' of over 600 people. Sometimes there might be between 306 v:or 400 people on the stage at One time when big spectacles wero being presented. He had been on many l)Ut never on one where there vjas so "much comfortable freedom as that in the Paris Opera House, no matter how many were on it. His first impression was likt that of being in a huge field, and lie'wondered how he could ever make himself heard. However, the stage was delightful to sing ' on",' and its" acou3tie properties were marvellous. ■ " •

The costuming side of the theatre work was . a itemfic.' business, Mr. Brownlee '"■' continued, and the wardrobes cov.ered acres p£ flooring. Every costume was absolutely authentic. ." That was a matter the French insisted upon." It: had be.en estimated that thpe were enough costumes to produce between 500 ""and' GOO ojieras. Unless a'costume .was perfect; in every detail the .artist .was not allosyed to go on the stage.. The'star system had no place iu the working of the theatre. Tho management believed in g'-ving everybody equal opportunities and encouragement, and it was a' splendid idea.

When the foundations for the Opera House- were being sunk an underground river was discovered, and it was no-' ccssary to go to great trouble to control the water. Now it was possible to go right under the st'nge of the theatreand other famous buildings by boa;., and during tho.tourist season that was quite a feature of a visit to Paris,

Speaking ofthe dancing academy Mr. Brownlee said that a great deal of attention was paid' to it in connection with the opera in Franco, probably more so than in any other part of the world. The reason was that ;is long ■.is there had been French operu there had always been a ballot. Pupils, mostly girls, were admitted from the age of seven and given an education and dancing lessons. Each year there was a huge competition for children to ontcr the class, and there was always great excitement because it was a real achievement to be admitted into the class with the prospect later on of taking part in tho ballet. Within -i short lime of their admission the children began in juvenile ballets and soon ap-. poured in public as a feature of the winter season. One- of the Wiading prima donnas at present begau her career in the ballet.

Mr. Brownlee paid a tribute to those who had given him a musical home in Paris during the"'past six'years, and said that ho had had the happiest time in the French capital it w.as possible to wish for.