Figure VIII Edwin Thomas Hall (1973) Figure IX Edwin Thomas Hall (1973) (concert mode) pare with Paris' Comedie Frangaise or Vienna's Burgtheater, and on a national basis we have had no experience that is in any way comparable to German and Austrian government financially subsidized professional rotating repertory in either theatre, ballet, or opera. Absolute music, particularly since World War I, is a different story and is now no different here than in Western Europe.) It is only recently that the private and public sectors have begun to cooperate at the profes- I Figure X Edwin Thomas Hall (1973) (opera mode)