| Vienna | 3 fls. 7 kr. (6s.) |
| Wiesbaden | 5 mks. (5s.) |
| Berlin | 4.50 (4s. 6d.) |
| Frankfort | 3.51 (3s. 6d.) |
| Munich | 3.47 (3s. 6d.) |
| Darmstadt | 2 mks. (2s.) |
| Prague | 1 florin (1s. 9d.) |
These figures suffice to prove the colossal benefit princely patronage and subvention bestow on the theatre-goer, in putting a favourite entertainment within the reach of the masses. Moreover, the German opera-goer is catered for both in quality and quantity.
As regards quality, he has the pick of the masterpieces of every school, nation and repertory. Gluck, Spontini, Cherubini, Auber, Hérold, Boieldieu, Mozart, Beethoven and Weber hobnob on the yearly programmes with Wagner, Verdi, Mascagni, Puccini, Giordano and Leoncavallo, to cite a few names only. As regards quantity, the following details speak for themselves—I take the theatrical statistics for the year 1895-1896:—
The Berlin Opera House produces 60 various works—52 operas and 8 ballets.
The Vienna Opera House 74 works—53 operas and 21 ballets.
The New German Theatre at Prague—45 operas, 11 light operas and two ballets.
The Frankfort Theatre—60 operas, 11 operettes, 4 ballets and 13 great spectacular pieces.
At Carlsruhe—47 operas and 1 ballet.
At Wiesbaden—43 operas and 6 ballets.
At Darmstadt—48 operas, 2 operettes and 5 ballets.