Edward Siedle, Technical Director of the Metropolitan Opera House, gives the author an account of some of the animals and fantastic creatures used on stage in the opera. I posted another selection from this article last year:
by Mercy Gorham
“To make the dragon in ‘Siegfried’ possible, two men in turn act as the front and hind legs of the creature and control the working of the mouth, eyes and ears. Two more are required to handle the wires which lower and elevate the head, beside the electrician who watches the lights in the eyes, the one who controls the vapor and steam proceeding from the dragon’s nostrils, and lastly the conductor, who has to watch the score carefully, so as to give the cue for the various movements of the dragon. The technical director himself attends to the side movements of the head.
“The bear in ‘Siegfried’ is worked by the property man. In ‘Koenigskinder’ the geese are real, and must be cared for when not on duty in a room of their own. Every day their wants are attended to, their bath kept clean. Though used but six times during the opera season, these aristocratic birds live on the fat of the land. There is one property goose that takes the crown away and later brings it back again, and this is operated by the property man.
“‘Lohengrin’ has its swans, ‘Rheingold’ its small dragon, ‘The Magic Flute’ its enormous elephant with howdah and Oriental draperies. While these are but minor illustrations of the inventive genius necessary to produce grand opera, they give some small idea of the tremendous responsibility resting on the heads of departments beyond the curtain line, the infinite attention to detail necessary, and the enormous labor, both mental and physical, required to give grand opera patrons the series of perfect stage pictures for which they pay and which they have a right to demand.”
Gorham, Mercy. “Grand Opera Beyond the Curtain Line.” The Theatre Magazine Jan. 1915: 41. Google Books. Web. 15 Mar. 2016.