of the opera during rehearsals and performances. The stage
carpenter has also under his control a body of carpenters who work all
night, commencing their duties after the opera is over, removing all the
scenery used in the opera just finished from the opera house and
bringing from the various storehouses the scenery required for the next
performance or rehearsal. The electrician is an important member of my
staff, and he, of course, has a number of assistants. The Property
Master and his assistants and the Wardrobe Mistress and her assistants
also are extremely important. Then the active engineer who is
responsible for the heating and ventilating, and also for many of the
stage effects, is another necessary and important member. In all, the
Opera House, when in full swing, requires for the technical or stage
detail work alone about 185 people.

[Illustration: HOW AN OPERATIC STAGE LOOKS FROM BEHIND.]

Thus far we have not considered the musical side of the production. This
is, of course, under the management of the General Director and the
leading Musical Director. Very little time at best is at the disposal of
the musical director. A director like Toscanini would, in a first-class
opera house, with a full and competent company, require about fifteen
days to complete the rehearsals, and other preparations for such a
production as _Aida_, should such a work be brought out as a novelty. A
good conductor needs at least four orchestra rehearsals. _Pelleas et
Melisande_ would require more extensive rehearsing, as the music is of a
new order and is, in a sense, a new form of art.

IMPORTANT REHEARSALS

While the head musical director is engaged with the principals and the
orchestra, the Chorus-master spends his time training the chorus. If his
work is not efficiently done, the entire production is greatly impeded.
The assistant conductors undertake the work of rehearsing the soloists
prior to their appearance in connection with the orchestra. They must
know the Head Director's ideas perfectly, and see that the soloists do
not introduce interpretations which are too much at variance with his
ideas and the accepted traditions. In all about ten rehearsals are given
to a work in a room set aside for that purpose, then there are five
stage rehearsals, and finally four full ensemble rehearsals with
orchestra. In putting on an old work, such as those in the standard
repertoire, no rehearsals are demanded.

The musical forces