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
procee