ABSTRACT
Everywhere, the symptoms of a renewed crisis in the Opera House are multiplying. Even the foundations of our great Teatro del Liceu are currently trembling. One might almost welcome any obstacles that might hasten this crisis at home. But let us not deceive ourselves. The difficulties for large opera houses are not new: indeed, they are even prosaic. They have nothing to do with the ritorna all’antico of the reactionaries who try, especially in Germany, to adopt an archaeological criterion, exhuming the forgotten operas of Verdi, Handel and others: that is no solution.
