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 First Musician to Routinely Break Their Instrument on Stage

19th century Hungarian composer Franz Liszt created the modern concept of the single musician concert as prior to this, a single musician (e.g. pianist, violinist, flautist etc.) had never played an entire concert by themselves. Liszt often broke his pianos on stage due to his vigorous style of play, making him the first musician to routinely destroy their own instrument while performing, a full century prior to the rock artists of the 1960’s onward