Theatre Design & Technology - Oct 1965 - 5

These inequal ities have been taken into cons ideration in pricing tickets. During the run of the Festival,
for example, regular performances could be seen
from the first row of the orchestra for fifty marksabout $12.50. The last row cost approximately $9.00.
Standing room was from $2.50 to $1.00. All of these
prices compare favorably with the Metropolitan
For those who are willing to pay a dollar to hear,
with no guarantee that they will see anything,
the Horerplatz is just the thing.
If these prices
seem expensive by European standards-per capita
income is substantially lower than in the United
States-consider the prices charged for the official
public opening-night Die Meistersinger premiere: 500
Deutsche Marks ($125.00) for the first fifteen rows
of the orchestra, 400 DM for the remaining six rows.
Even in the tiers, the prices ran into three figures.
(But the performance was cancelled, owing to President Kennedy's death.) The rea IIy fortunate were
those who went to the premiere of Richard Strauss's
Die Frau Ohne Schatten. It was by invitation only for
guests of the Bavarian government and occurred two
days before the public opening. It is typical of
Munich to have two opening nights. This is after all.
a city of excesses-most of them wonderful, some of
them appalling. The riotously overdone decoration of
the rococo churches, the voluptuous swirls of the
baroque are only outward symbols of an inward love
of show and celebrations. Thus Munich is a city of
perennial festivals. It also means that the visitor to
Bavaria, hoping to arrive when opera tickets are being sold at normal prices, is apt to find himself in
the middle of a Carl Orff, a Mozart, or a Richard
Strauss Festival, with tickets priced accordingly.
Consider the 1963-64 season: it opened with the
annual Munich Festival (August-September), closely
followed by the opening Festiva I Weeks (NovemberDecember). The smoke had scarcely cleared before
Strauss's one-hundredth birthday arrived, and with it
a Richard Strauss Festival.
View

of the

auditorium

seen

from the

stage,

including bridge

lighting. Around 1,200 lamps are used in the auditorium alone.
(Photo: Siemens)

lacking. The individual seats are attractive and very
comfortable indeed. The problem is that the house
has been rebui It with its old arrangement of five
gently curving tiers of balconies. Fine for acoustics
of course, but they cut down the number of viewers
wh ich cou Id have been accommodated by ba Icon ies
spanning the auditorium. Anyone who has ever sat in
the fourth or fifth tier of such a theatre also knows
the anguish in not being able to see much of the
stage. Those who have been on the extreme sides,
even in the second and third tiers, are sometimes
lucky to see the corner of the stage oppos ite them.
It is not so bad for ticket-holders in the first row.
They can lean over the ba !cony ra i I to see better.
In the National Theatre, though, this will block the
view of those seated behind. Some "seats" in any
case are virtually "standing room only", should the
occupant rea Ily want to see the opera.

Ticket prices don't tell the whole story, though. Any
evening, crowds of students can be seen lined up
outs ide the box offices of Mun ich' s many theatres.
Shortly before curtain time, a II unsold seats regardless of cost or location are released to them for about
fifty cents apiece. In addition to guaranteeing full
houses for the artists, this policy is wisely building
young theatre and opera audiences for tomorrow. How
can the state afford it? The answer is that the state
can afford anything for which its citizens want to
pay the bi II.
Bavaria's state theatres include the new National
Theatre, the Prince Regent, the Gaertnerplatz, the
Cuvillies, and the New Residence Theatre. Income
from tickets accounts for a very small part of the
operating budget. In 1963, for instance, the operations of the state opera were budgeted at ten million
marks. Annual ticket receipts seldom have topped
two-and-a-half million. Rudolf Wiesinger, a state
official in charge of theatre finances, says the state
effectually pays a hidden 20 marks extra for each
ticket sold, in order to provide good opera at relatively modest prices. With completion of the new

5



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1965

Contents
Theatre Design & Technology - Oct 1965 - 1
Theatre Design & Technology - Oct 1965 - 2
Theatre Design & Technology - Oct 1965 - 3
Theatre Design & Technology - Oct 1965 - Contents
Theatre Design & Technology - Oct 1965 - 5
Theatre Design & Technology - Oct 1965 - 6
Theatre Design & Technology - Oct 1965 - 7
Theatre Design & Technology - Oct 1965 - 8
Theatre Design & Technology - Oct 1965 - 9
Theatre Design & Technology - Oct 1965 - 10
Theatre Design & Technology - Oct 1965 - 11
Theatre Design & Technology - Oct 1965 - 12
Theatre Design & Technology - Oct 1965 - 13
Theatre Design & Technology - Oct 1965 - 14
Theatre Design & Technology - Oct 1965 - 15
Theatre Design & Technology - Oct 1965 - 16
Theatre Design & Technology - Oct 1965 - 17
Theatre Design & Technology - Oct 1965 - 18
Theatre Design & Technology - Oct 1965 - 19
Theatre Design & Technology - Oct 1965 - 20
Theatre Design & Technology - Oct 1965 - 21
Theatre Design & Technology - Oct 1965 - 22
Theatre Design & Technology - Oct 1965 - 23
Theatre Design & Technology - Oct 1965 - 24
Theatre Design & Technology - Oct 1965 - 25
Theatre Design & Technology - Oct 1965 - 26
Theatre Design & Technology - Oct 1965 - 27
Theatre Design & Technology - Oct 1965 - 28
Theatre Design & Technology - Oct 1965 - 29
Theatre Design & Technology - Oct 1965 - 30
Theatre Design & Technology - Oct 1965 - 31
Theatre Design & Technology - Oct 1965 - 32
Theatre Design & Technology - Oct 1965 - 33
Theatre Design & Technology - Oct 1965 - 34
Theatre Design & Technology - Oct 1965 - 35
Theatre Design & Technology - Oct 1965 - 36
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