MUSIC.

Dominion, Volume 2, Issue 473, 3 April 1909, Page 9

MUSIC.

(Bt Them.e Clef.) Tiic Composer of "Monna Vanna." Henri I'evrior, the composer of tlio new opera Monna Vanna," is a very young composer and with only 0110 previous work to his credit—a one-act opeia produced at tho Opera Comique. His new work, says the Paris correspondent of the New York "Times," is not very original, but it is very pleasing to the bar. Wagner's infltienco i? easily traced, Massenet's stylo has attracted tho composer 11S parts, and even Debussy adds Ins mac. This is especially noticeable when Prinzivallc tells Vanna how sho lost lor ring m the fountain. Fevrier borrows bars which describe Mclisando at tho fountain.

Tho first-act music is the best, but tho second act contains much to please tho oar. In tho third act Fovrier has to deal with matters which require experience and much inspiration, and lie flounders a bit often making the obvious mistakes of con--1 using tho emotions of passion and those of merely strong feelings. A fourth act has been added to the book of the opera, showing tho escape of Prinzivallc and Vanna. I'liere is no doubt that "Monna Vanna" is pleasing to Parisians, in spito of tho fact that it is tho first French opera over produced at tho Opera which lacks a ballet Only Wagner has been able to avoid a ballot at tho Opera before now. This establishes a good precedo.it. Coming Pianists, At his last rccital, given in Berlin, the iiu.ncrous pupils of Alberto Jonas (says the "Continental Times") presented him with a magnificent wreath of sterling silver, 'each leal of . which bears the jiamo of one of tho pupils df this year's class. As tho celebrated pianist played tho final thundering chords of the Sclmbert-Tausig Marclio Militairc, which closed tho programme, and amidst the enthusiastic applause of tho largo audience present, David Bcrlino, tho elevenAmerican boy, brought tho wreath, resting on a cushion of velvet, 011 to tho stage. David Bcrlino, who is to malio his public debut in Berlin this reason, has attracted a good deal of attention in musical circles. Ho has played twice at tho Court of the German Emperor, before the Empeior himself, tho Empress, and the entire ltoyal family He has also played in Potsdam betoro the Crown Prince and tho, Crown Prinross. He is a fellow student, in Jonas's class, of Popita Arriola, that wonderful ton-year-old boy pianist, who also lias repeatedly played before tho Emperor and the entire Court, and who is at present tho highest paid artist in Europe. Popito Arriola, as the youngest of tho Jonas class, was to havo presented the wreath to his master, but could not do so, being away on a short concert tour.

Miss; Iris do Cairos Rego, tbo young Sydney pianiste, is also studying under Alberto Jonas, and is rapidly acquiring a large concert repertoire. A miniature scoro of the Elgar symphony lias already boon published (170 pp.). The work is dedicated to Hans llichter, "true artist and friend." In Manchester tlio rumour was nfo that the symphony (which has no programme") in some mysterious way depicted General Gordon's life; but this was emphatically denied hy Elgar himself. Artists at Music Kalis, f Should eminent artists sing at music-halls? J-liis question has been raised consequent upon Madame Alliani s latest venture. The reply of "Lancelot," in the London "Refnree, is "yes. 1 Ho writes:— Jo a foreigner not conversant with the word music-hall," as interpreted in England, the home of niirtli, topical song, and also sometimes vulgarity, the question would sound superfluous. Where should a smger sing if not at a music-hall? But our music-halls are places where good music is or at least was, a rarity. In tlio old davs wjion lions connques sang ".'Champagne Char*' lie _ and such-like ditties, whon a bibulous chairman announced the various items in a laucous voice, and • where a performer who did not please, became cognisant of the fact in no honeyed words, music-halls found no place for sentiment, culture, or art. Mais nous avons .change tout cela. Our places of variety are magnificent temples, where comfort ,oaso and decorum are evident, and indeed the lack of good music therein is nowadays a short-sighted omission rather than a necessary axiom. High-class artists who appear at these places are far more likely to elevate the mixed audience than to bo degraded by their environment. Not that it can bo pretended that thoso of this class who allow themselves to be engaged at princely salari&s at music-halls "do" so merely for art's sake. They do so to earn nionoy •and 110 one can say that it is not honest work.'

The more Albania at. theatres of variety the better. Promenade and popular concerts havo educated the minds of tho masses to what is good, and the reception 'that highclass items get, even when sandwiched between a comedian and a juegler, is sufficient evidence of their appreciation. There is no need to carry theories to extremes. The question as to whether eminent artists should perform outsido publichouses need never arise, though it must not he forgotten that several performers, now eminent, were first discovered in such undesirable localities. Sims Reeves. Hayden Coffin, Madamo Alice Lstey, Miss Mary Tempest, and many others have anticipated Madame Albani witliout any detriment to their reputation, so far as wo know. What is pleasant to recall is that they have not only been tolerated but rapturously received—a tribute to the discernment and good taste of tho music-hall audiences of today. Fifty years ago they would havo been received with brick-bats. Why treat the improvement in manners and advance in taste of the music-hall audience with disdain?