CAROLYN GUZSKI: We’re in the box office vestibule of the original Metropolitan Opera. The box office was rather small, and we see this variety of individuals, cheek-by-jowl.

NARRATOR: The crowd in this painting might initially appear as just a mass of people, all music lovers. But Carolyn Guzski, a professor of musicology at Buffalo State University, sees differences in their social classes and a story of immigration.

CAROLYN GUZSKI: The woman standing in front of the silk top-hatted man is clearly a member of the working class. She is clutching a handsome, but sturdy, pocketbook, which might be a way of showing that this is a sacrifice for her, but she's willing to make it.

The woman in back of the silk-hatted man is a different story altogether. Her hat is much more elaborate. She also seems to be holding opera glasses, which indicates that she's a regular.

NARRATOR: At the rear left, artist Theresa Bernstein highlights another New York immigrant.

CAROLYN GUZSKI: The man at the ticket window, is wearing a conical soft hat, very typical of the Italian working class.

At that time there was a group of old school Italian artisans that gathered in the uppermost balcony standing room. They were shoemakers, bricklayers, butchers, bakers, and they came to the opera frequently. And this man seems to be representative of that group.

NARRATOR: Although he may be buying a ticket far from the stage, he isn't at the back of the line; he’s first.

CAROLYN GUZSKI: Even the silk hatted gentleman behind him has to wait until this ticket purchase is completed. There is no secondary line for people of humbler means that are spending less money on tickets.