opera book 2

In D a Hou se s Im p r e ssion s a n d a Jo ur ne y thro u gh Ba ro que Op er a ho u ses

Project Concept: Glenn A. KnicKrehm Photography: AndrĂŠ Costantini Ar t direction and design: Bur t Sun Introduction: L yn Larsen Text: Susan M. Cole and Meret S. Peter Editing: Andrew Sigel

ConstellationCenter 161 First Street Cambridge, MA 02142-1207 Tel 617.939.1900 Fax 617.576.0914 constellationcenter.org

Š 2012 Constellation Productions, Inc., All rights reserved. Published 2012

ISBN-13: 9780983653615 Library of Congress Control Number: 2011940135

This book is dedicated to _____________.

ABOUT CONSTELLATIONCENTER ConstellationCenter, located in Cambridge, Massachusetts, will be one of the world’s finest performing arts centers, combining the highest standards of production and performance excellence. With five halls under one roof, ConstellationCenter will be an arts center rich with creative possibilities for opera, film, music, dance, and drama.

Research is at the core of ConstellationCenter’s methodology. Accordingly, planning for ConstellationCenter has involved years of meticulous research and development, focusing on the needs of artists and audience members, theater construction, sound design, and historic performance spaces. Upon completion, the Center will serve as a venue for a host of Boston-based cultural organizations, as well as an internationally recognized focal point for performing arts groups from all over the world.

PREFACE ConstellationCenter, a performing arts center soon to be built in Cambridge, Massachusetts, will be home to the 1928 Wurlitzer theater organ that was originally created for and installed at the Paradise Theater in Chicago. The late Mr. William P. Brown of Phoenix, Arizona, ver y generously donated this magnificent organ to ConstellationCenter. It is one of only three five-manual theater organs built by Wurlitzer, and we consider ourselves fortunate to bring this instrument to Cambridge.

The images in this book show the unexpected grace and beauty of the organ’s motors, blowers, and pipes. Our photographer, André Costantini, accompanied our acousticians, architects, and organ consultants on a research and documentation trip to Bill Brown’s house in 2005. During this trip, he examined and documented the keyboards, console, and the “behind the scenes” parts of the Wurlitzer. L yn Larsen provided this volume with an insightful introduction that recounts for us the organ’s amazing histor y. L yn is ideally qualified to write our introduction: he is one of the world’s leading theater organists, is a consultant involved in many theater organ restorations (including our own), and was a close friend of Bill Brown.

Following the removal of the organ from the Brown home, we began a complete renovation. The restorers include Ken Crome and the team at Crome Organ Company; Dick Wilcox of Uniflex Control Systems; Cher yl and Rick Mogensen of Hesco, Inc.; Al Young; and Ed Virramontes.

They worked with great expertise and enthusiasm. We warmly thank them all. We especially wish to thank L yn for leading this project.

ConstellationCenter is poised to become a leading center for the performance and study of organ music. In addition to restoring the Wurlitzer, we are constructing a new Bach-style pipe organ. The historical precedents of this organ were discussed in our earlier volume, Wisdom and Beauty: the Great Organs of Zacharias Hildebrandt.

We hope that through this book we may introduce readers who are unfamiliar with the theater organ to the majesty of a Wurlitzer instrument.

To those familiar with the theater organ, we believe this volume is a significant contribution to the photographic documentation of the internal systems of these instruments.

Glenn KnicKrehm President, ConstellationCenter

INTRODUCTION If you could turn back time and somehow walk into the Paradise Theater in Chicago (or the Fox Theatre in San Francisco, or the Roxy Theatre in New York City), you would be greeted by the most opulent, the most lavish, and the most outrageous mixture of architecture, décor, and illusion that you could imagine. The time was a period known as the Roaring Twenties, and it was the gilded era of the motion picture palace.

The architectural inspiration for these palaces drew on everything from Louis XIV Baroque, to Egyptian, to English Tudor, to Italian courtyard, to Art Deco; nothing prevented these diverse styles from being intermixed and even blended, as long as the resulting theatrical illusion could cause the jaw to drop and the heart to beat a little bit faster.

One very important and essential element in this mixture of grandeur and magic was a fantastic musical instrument: one that was capable of a far greater range and depth than a full symphony orchestra, and yet, miraculously, an instrument under the control of a single highly skilled man or woman. This crown jewel of each great movie palace was the theater pipe organ, whose sound, at one moment gentle and ethereal and at the next moment thunderous and majestic, could touch both the ears and the heart. Whereas classical pipe organs were designed primarily for the playing of contrapuntal music (with an emphasis on clarity and upper harmonics), the theater organ was very much an “orchestral ensemble” type of sound, and also included sound effects (for silent film music) such as car horns, door bells, sirens, train whistles, and even birds and ocean waves.

Certainly the most famous and widely known (and heard) of these instruments were built by the Rudolph Wurlitzer Company of North Tonawanda, New York. The Wurlitzer Company built a wide range of musical items including brass band instruments, pianos, and small automated organs for carousels. But their main focus during the years of 1917 to 1931 was to build and ship over three thousand theater pipe organs from their upstate New York factory. Many people consider the console of an organ to be “the organ,” without ever

imagining what might be lurking in those organ chambers hiding up in the theater walls. This book will afford the reader a unique and up-close look at the over three thousand pipes and myriad of parts that make up a ver y special theater pipe organ: Wurlitzer opus number 1942, originally installed in the Paradise Theater in Chicago in 1928.

This large instrument, with its five gleaming keyboards, hundreds of buttons and controls, and over fifteen hundred pipes, percussions, cymbals, drums, and sound effects, delighted audiences in the theater until 1948. Next, it was transplanted to the Los Angeles area by entrepreneurial businessman Richard Vaughn in 1949, where it was installed and used to make a series of million-selling records in the 1950s. These recordings by George Wright were stunning in both their creativity and their awesome dynamic range, and they soon generated a revival and renewed interest in the thrilling sound of “the Mighty Wurlitzer.”

William P. Brown—a businessman and also a ver y fine musician—acquired this musical treasure in 1962 and moved it to a large, specially designed new home in Phoenix, Arizona. For over forty years, he lovingly cared for this unique organ, carr ying through with the improvements and enlargements that had been originally planned by George Wright, and which expanded the organ’s tonal color, versatility, and dynamic range. Near the end of his life, Bill Brown wanted to find a secure home for the Paradise Wurlitzer—a home that could provide an ideal acoustic setting for this great organ, and a venue that would assure that the instrument would continue to be heard by public audiences for many years. He donated the Paradise Wurlitzer to ConstellationCenter, so that it could once again fill a grand and extraordinar y space with music, magic, and passion.

John Smith

The first Impression: Enter the Houses perspective look up: the ceiling seating

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purposebuilt for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style.

Here, connections to the everyday world are finally severed.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purposebuilt for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style.

Here, connections to the everyday world are finally severed.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style.

Here, connections to the everyday world are finally severed.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of the opera

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of the opera house, originally eighty-five feet deep and mirroring the length of the auditorium, remained the deepest stage in Germany for over a century. Carlo Galli Bibiena, Giuseppe’s son, constructed a spec-

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purposebuilt for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style.

Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest

foyer, then a stark, highceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most cele-

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The Secound Impression: On the stage perspective the layers and the depth The Braroque Staging

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors,

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow inte-

67

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of the opera house, originally eighty-five feet deep and mirroring the length of the auditorium, remained the deepest stage in Germany for over a century. Carlo Galli Bibiena, Giuseppe’s son, constructed a spectacular collection of stage scenery for the theater. Wilhelmine shared this sumptuous theater with the aristocrats, artists, and intellectuals at the provincial court that she transformed, against all expecta-

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of

The Third Impression: Chaos and Order Above and Beelow the Stage Mechanical and Engineering The Braroque Magic

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of the opera house, originally eighty-five feet deep and mirroring the length of the auditorium, remained the deepest stage in Germany for over a century. Carlo Galli Bibiena, Giuseppe’s son, constructed a spectacular collection of stage scenery for the theater. Wilhelmine shared this sumptuous theater

The Forth Impression: Byound Performance The Other Surrounding Rooms royal Gathering Musican’s Corner

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium.

Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The Fifth Impression: Beauty in Details Lines AND Curves LIghts decors

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

espite Wilhelmine’s many building projects in the city, she remained involved with the opera house even after the building’s completion. In 1754, she collaborated with Andrea Bernasconi on the opera huomo, penning the text and six arias. After her death in 1758, the spectacles at Bayreuth slowed, and ultimately the theater was closed. Restored in the twentieth century, today the opera house hosts era festivals and is open to the public as a museum.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grandest columns merely facades with hollow interiors, creating the effect of theater scenery in the auditorium as well as on stage. The stage of the opera house, originally eighty-five feet deep and mirroring the length of the auditorium, remained the deepest stage in Germany for over a century. Carlo Galli Bibiena, Giuseppe’s son, constructed a spectacular collection of stage scenery for the theater. Wilhelmine shared this sumptuous theater with the aristocrats, artists, and intellectuals at the provincial court that she transformed, against all expectations, into a cosmopolitan jewel.

foyer, then a stark, high-ceilinged entrance hall, surrounded by three tiers of balconies purpose-built for spectators to observe each new arrival. After contracting to a narrow, dark passage, the space expands dramatically as one enters the spectacularly decorated auditorium. Giuseppe Galli Bibiena, perhaps the most celebrated theater architect of his day, designed the interior of this 450-seat theater in a stunning example of Italian baroque style. Here, connections to the everyday world are finally severed.

The auditorium is executed nearly entirely in trompe l’oeil painting, with even the grand-

Markgräfliches Opernhaus

Schwetzingen Rokokotheater

Bayreuth, Germany

Schwetzingen, Germany

Architect(s):

Architect(s): Nicolas de Pigage (1723–1796)

Building - Joseph Saint-Pierre (1708/09–1754)

Date of construction: 1752

Interior - Giuseppe Galli Bibiena (1696–1757)

Opening date: 1752

Date of construction: 1746–1748

Opening production:

Opening date: 1748

Opening production:

Significant productions:

Il figlio delle selve, Ignaz Holzbauer (1753)

Significant productions:

Olympie, Voltaire (1762)

Artaserses, Johann Adolf Hasse (1748)

Stage depth: 125 feet

L’huomo, Andrea Bernasconi and

Auditorium length: 59 feet

Margravine Wilhelmine (1754)

Seats: 450 (today)

Ezio, Johann Adolf Hasse

Stage depth: 85 feet (1748), 67 feet (today) Auditorium length: 86 feet Seats: 450 (1748), 850 (today)

upper image: Markgräfliches Opernhaus lower image: Giuseppe Galli Bibiena (1696–1757)

upper image: Rokokotheater Schwetzingen lower image: Nicolas de Pigage (1723–1796)

Monsieur de Pourceaugnac, Molière

Drottningholms Slottsteater

L’Opéra Royal

Drottningholm, Sweden

Versailles, France

Architect(s):

Architect(s): Ange-Jacques Gabriel (1698–1792)

Carl Fredrik Adelcrantz (1716–1796)

Date of construction: 1768–1770

Foyer (1791) - Louis-Jean Desprez (1743–1804)

Opening date: 1770

Date of construction: 1764–1766

Opening production: Persée, Jean-Baptiste Lully

Opening Date: 1766

Significant productions:

Opening production: Psiché, Molière

Significant productions:

Armide, Christoph Willibald Gluck (1784)

Gaston et Baïard, de Belloy (1770)

Stage depth: 46 feet

Electra, Johann Christian Friedrich Haeffner (1787)

Auditorium length: 50 feet

Stage depth: 64 feet

Seats: 712 (today)

Auditorium length: 85 feet Seats: 454 (today)

upper image: Drottningholms Slottsteater lower image: Carl Fredrik Adelcrantz (1716–1796)

Castor et Pollux, Jean-Philippe Rameau (1772)

upper image: L’Opéra Royal lower image: Ange-Jacques Gabriel (1698–1792)