SINGERS AND PLAYERS.

Auckland Star, Volume XLIII, Issue 101, 27 April 1912, Page 14

SINGERS AND PLAYERS.

Mr. Edward S. Craston, the well-known Auckland organist, is the composer of quite a number of part songs. '"'The Vacant Chair," written for four male voices, which was sung by the Auckland Lyric Quartet Party and always well received, has been published by Allan's and added to their long list of anthems and choruses.

Kubelik may be regarded as a fortunate fiddler. He has amassed a fortune of £200,000. He is now 32. Twenty years ago he entered the Prague Conservatorium as Sevcik's pupil and six years later made his debut. As a little boy it was his ambition to become an explorer, and he will now be able to realise that aspiration.

"Evervwoiuan," which was only moderately successful in Melbourne and Sydney, but drew full houses in Auckland, is "still a big drawing card in the United States. A New Orleans paper states that the modern morality play broke all records there in February with Jane Oaker in the principal part.

The revival of '•'Married to the Wrong Man" by the Geo. Marlow management in Melbourne is a success.

The Royal Wellington Choral Society has secured the services of Mr Hamilton Hodges for the production in concert form of Mascagni's opera "Cavalleria Rusticana." This completes the quartet which will consist of Miss Rosina Buckman (soprano), Miss Dall (contralto), Mr Philip Xewbury (tenor), and Mr Hodges (baritone).

Miss Florence Quinn, after having filled jngagemente with J. C. Williamson, Ltd., for some five years, leaves Sydney for London by the steamer Orontes on May 11th with the intention of pursuing her musical studies. Miss Quinn's last appearance on the Australian stage was :n the part of "•Conscience" in "Everywoman,'' which she played both in Sydney and Melbourne. She has made good progress in her profession, but is evidently desirous of getting the "hall-mark" of London—which lraving been achieved, the popular vocalist will no doubt be again seen in this part of the world.

J When the repertoire for the Melbourne Grand Opera Company was chosen, one opera was included with considerable doubt. Xobody knew how Australian audiences would receive it. and nobody dared to prophesy. That opera was "Samson and Delila.'" When the seasoii.3 in Sydney and Melbourne were over it was found that this opera had easily proved the most popular and the most profitable of the series. The Countess de Cisneros. who sang the part of Daliln, was as little known at the beginning as the opera, but she completely captured the public imagination and admiration. Her wonderful stage presence and her marvellous singing dazzled everybody. The Countess de C'isneros has accepted the offer of Messrs. Portus and Talbot for Ja concert tour of Australasia. She is to arrive in Sydney in June to commence it. It will be a most thorough tour of Australasia, beginning with the first concert in Sydney in the last week of June and including concerts in every important town in the Australian States and New Zealand.

The performance of "Elijah" as • a musical drama at Liverpool was received with much satisfaction by crowded audiences. It is stated that the operatic chorus of 40 voices gave a splendid rendition of the concerted numbers. Suggestive realism was imparted to the singing of "Thanks be to God" by the stage effects of thunder and lightning and the sound of tempestuous rain The chorus were said to be least effective in the "Baal" music, where far greater vocal weight is required than could be supplied by a body of voices limited in number to 40 singers. In its review of the work one English musical journal stated that unquestionably the general effect was surprisingly good, and the ope.-a-oratorio intensely interesting. In compliance with the urgent request ol Mr Manners, the audience refrained from applauding during the progress of the opera, but at the fall of the curtain to each act the greatest enthusiasm was manifested, ft is also stated that the entire company were imbued with fervour, and that the various personages on the stage conducted themselves with suitable reverence of demeanour. The performance of oratorio as stage music-dramas has for many years been discussed in England, and now tnat the Charles Manners Company have broken the ice there is reason for believing that other organisations will find it profitable to carry out further experiments in this direction.

Miss Grave Agnes Onion, a blind student, aged 17, has taken senior honours in pianoforte at Trinity College, after training by Mr. Lloyd Edwards, of Bow. A lady who is an ardent temperance worker does not like the reference to wine in the carol "Good King Wenccslas." So she has substituted these words: "Noble srre, I drink not wine, I'm a Band of Hoper; Proud, though poor, Ive made a vow, ne er to be a toper." Xapoleon I, who has appeared as the protagonist of many a play, is the central figure in "L'Aigle," tie new opera of Jean Norj*nes, described as an "epopee lyrique," which sanv the footlights last month at the Thatre dcs Arts, Rouen, and appears to h-ave met with a flatter ing reception. M. Henri Cain and Louis Payen are responsible for the book, and the whole production is descrfbed as being of "a grandiose and picturesque character, symbolising the epoch of national glory of which Xapoleon was the inspiration." Various historic stages in Napoleon's career are depicted, including his Coronation in Notre Dame, the retreat from Moscow, Waterloo, and the exile at St Helena. As yet, however, we an without details as to how such a crowd of pregnant events has been made to serve operatic purposes. The work, like "Quo Vadis?" is largely spectacular, as may be gathered from the synopsis and from the fact that some 500 costumes were made for the production. '

A well-known American violinist, in a recent interview, expressed Ijhe opinion that mental science is of great help in cases of stage fright or nervousness. Mental suggestion and hypnotism, he says, is accomplishing some remarkable things at the present time and is attracting more and more attention from the medical profession as its phenomena become better known. A young man had to play a difficult concerto with an orchestra in New York. He was a violinist, and it was to be his first appearance at an important concert. He dreaded the ordeal, and went to his physician, The physician hypnotised him, and while the violinist was in the hypnotic state said: ''You will go home to-day and play thp concerto to thn host of your abUitv. When the night of the concert comr>s you will play it exactly rs you did in your own home." The nijrht of the concert came and the physician's suggestion proved true. The young man stepped on the stage as bold as a lion, played without a trace of nervousness, and was enthußiajtifaUjr applauded.