One of the many costs that makes opera a very expensive art form is the royalty attributed to composers (in addition to librettists, translators, and choreographers). The study is based on primary data for 1810–1866. In 1884, the Paris Opera adopted a compensation system based on a percentage of box office revenues. However, these operas eventually lost their attraction. ‘ Grand opéras’ were à la mode and they contributed to the financial success of their composers.
A contributing fact was the opera house programming which, contrary to the programming of today, favoured new pieces. It created a classic winner-take-all phenomenon in which composers such as Auber, Meyerbeer, and Halévy thrived in the nineteenth century. The tariff-based compensation method had been put in place by a royal réglement in 1713.
This study describes how nineteenth century composers were compensated for their work in the Paris Opera through this performing right for drama, known as the ‘grand right’. In France, this new system for non-dramatic performing rights was preceded by royalty regulations in theatres. However, it took until the mid-nineteenth century until a system of royalty collection was established in France (and another half a century or more in other countries). The music industry has been made possible through performing rights based on a law introduced by the post-revolutionary French national assembly in 1791.
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