How Flames Were Artificially Produced for Opera Productions During the 18th Century

During the 18th century within opera and theater productions, stage doors which would lead a character to Hell achieved simulating the flames of Hell with brandy which would be placed into a container and lit on fire due to the fact that during the period, brandy was the brightest glowing flame available because of it’s high alcohol content. Once the brandy was burning bright, a powder referred to as “lycopodium” was blown across the flames to create an intense illumination, creating a fireball of sorts. It was in truth a very dangerous special effect to achieve because of the wooden sets, the actors involved, and the enclosure of the theatre itself. Most of those who performed the pyrotechnics for operas and plays during this period were ex-military, often soldiers who understood how these chemicals worked in depth as rocket technology was at the cutting edge of warfare during the era

The 19th Century Discovery of Perfect Reverberation

The discovery and application of perfect reverberation within opera houses, theaters, university concert venues, etc. was devised by Harvard University physicist Wallace Sabine in the 1890’s. By playing the pipe organ and using a stop watch, Sabine took thousands of measurements and discovered the perfect ratio between room volume and sound absorbing materials. A reverb time of 1.9 seconds, an application of the Sabine Equation, allows for perfect reverberation so that speech and music is intelligible to all audience members, no matter their position in the venue which would otherwise be impossible (e.g. cathedral reverberation)

Traditional Operatic Theater Practices for Patrons

Despite common belief, not everyone who attended operas during the 18th century spoke Italian which is and was the language of most operas. Because of this, operatic actions became highly exaggerated over the evolution of the artform to act as a kind of subtitle to fill in the blanks. Patrons were also provided small booklets with the entire opera in print, much the same as a modern day screenplay script so that they could follow along in the event that they became lost