Operatic Competition
The impact of the café-concert on the activity of residential opera companies was significant in French towns with significant working-class populations. Among stage-music genres, operetta was also a threat because it was staged by secondary theaters (and by café-concerts in breach of their licenses) and because large numbers of bourgeois patrons preferred it to either Grand Opera or opéra-comique. These forms of competition for licensed managers for opera and spoken theater characterize the 1850s onward, resulting in heated exchanges with all layers of local and national government and debates about how to preserve operatic decorum and status in the face of operetta’s popularity. A notable exception is 1870s Strasbourg, where French operetta acts as a vehicle of resistance. The role of touring companies (often from Paris) as a centralist threat to the resident company from the 1880s, especially, is contrasted with their enrichment of smaller towns; the increase in guest artists (often Parisian too) is discussed as a factor in the longer-term shrinking of permanent opera company personnel. A coda examines the often brutal impact of broadcast technology on opera management and audiences in the 1920s and 1930s.