MUSIC AND THE STAGE

Manawatu Standard, Volume XLVI, Issue 200, 24 July 1926, Page 7

MUSIC AND THE STAGE

recorded music. WEEK’S NEW RECORDS. ® lO world never would listen to its prophets or the purveyors of modern jazz would have seized on Stravinsky r , Poaring the first notes of his Ragtime.” This satire on the old ragtimes—th© tunes ot which cone more surely than the names after this lapse of time—is played by Marcelle Moyer on a 12-incli record. Its prophetic quality has robbed it of its sting tor it would be taken quite seriously as a rival to “The Dog on the Piano” by the unsuspected follower of the lighter side of music. To the highbrow we can recommend this record as ah indication of what modern jazz nearly is, but as a comment on the dear old tuneful ragtimes—. On the other side is another modem with a less mordant item, “Navarra,” which is full of charm. It tends to get monotonous to comment on pianoforte tone, but there are moments in this disc

when you can .feel the hammer strike the strings. One of the most impressive scenes in Gounod’s “Faust” is that in the church, where Marguerite goes to pray and is thwarted by Mephistopheles and tho chorus of Demons as the organ peals out tho “Dies Irae” from the “Mass for the Dead.” The new disc of the church scene records Chaliapine as “Mephistopheles,” Florence Austral as “Marguerite,” accompanied by the Symphony Orchestra, organ-and chorus conducted by Albert Coates. Chaliapine, the Russian bass, is recognised as the greatest living interpreter of tiio character, and Florence Austral in a difficult and almost overborne voice is a great Marguerite. It is desirable in a modern house to use a medium .needle and to listen to this combination of forces at some distance to get the complete illusion of the scene with the two characters against the background of orchestra, organ and chorus. Stracciari is at his artistic best in his couple of numbers from Verdi’s famous Othello—“ Brindisi” 4 and “Sogno.” The richest qualities of his voice come out w,ell in the first named, especially in the silky insinuations of the dream song in which lago tries to poison Othello’s mind against Desdemona. In the Brindisi with ifs- al-

most tempestuous phrases, Stracciari successfully resists the temptation to shout or rant without losing anything in the way of volume and sonority. There are few finished and artistic string combinations playing to-day for recording purposes than the Lener String Quartet, who have helped to give the gramophone world so many examples of recorded classic music. Their newest contribution, .to arrive jin Maoriland a little later, is a fourI part rendering of Mozart’s beautiful and delicate “Quartet in G Major” j (Serenata). The new system of electrical recording is finely instanced here, and the almost entire absence of surface noise helps a lot to preserve and intensify the beauties of the subtle and melodious, “Romanza Andante,” which take up nearly two sides of this charming production. Mr Bert Ralton, director of the Original Havana Band, writes to a London contemporary: “No doubt many of your readers will sympathise | with recent broadsides against the | ugliness of modern dance music—vide Dr. Henry Coward and others—but J there is another side to the question, ’ and I should be glad if you would allow mo, on behalf of those who live by modern music, to state tho case for the defendant. The musical code of the day is not ‘Let’s have a splash, a crash, anything to make things hum.’ We got tired of that sort of ‘music’ years ago, and if our critics will only lend their ears—or ear-phones—a little more attentively to the popular music of the moment they will observe that we are now at the beginning of a definite revival of melody—almost Victorian prettiness in music. There are thirteen musical comedies Tunning in the West End of London; Mr Cock-[ ran is going back to the old loves— { Viennese waltzes, minuets, powder and patches music, and even Bach for revue; the latest cabaret in town is/, featuring jigs and Highland flings, and T know from my own experience of tho halls, gramophone, and the wireless that gentle, sentimental, ‘flap- ‘ per music,’ with such titles as ‘Mem- ' ory’s Melody,’ ‘Ukulele Lullaby,’ ii ‘Goodbye,’ ‘Brown Eyes,’ is now driving ' all the Yankee ‘Red Hot Mammas’ off 1 the dance floors back to the shadows i from which they flamboyantly bios- : somed.” 'I

Catterall, Squire and Murdoch have collaborated on numerous occasions for the good of record patrons. Their version of Scherzo and Trio from trio in B Flat (Schubert) has a distinctly Viennese flavour, particularly in the waltz-like trio. The piano is most effective in the Scherzo, and this instrument pleases most in their record of Brahm’s Trio in E Flat. Another excellent but not new production of theirs is Schumann’s “Phantasies and tucke.” Here again, the piano is heard to advantage, but Squire, on the ’cello, is too prone to imagine he is playing a solo, and thus tends to destroy the balance.

Amongst the August records to be issued next week are some delightful tangos. The recrudescence of the tango has led the gramaphone company to add to the dance records of this Spanish invasion. Veraldi’s Tango Band has recorded on double-sided discs “La Mantillo” and “Por Ti”; “Sunny Havana” and “Viva el Principle” ; while the Rio Grande Tango Band has played to the Hayes recorded “Gar-

conniera” and “Tus Ojos,” all of them fine dance tunes. For the August contribution—there is hardly ever a month’s issue without him—Peter Dawson- has chosen the popular “Four Indian Love Lyrics” of Amy Woodford Finden. He indulges in a minimum of finesse, and that perhaps explains his great popularity. Hero is fairly straightforward singing, and the choice of singer and songs will alone recommend them to public favour. In no other branch of musical activity has there been a greater improvement during the past few months than gramaphone recording. No longer-does an orchestra or a military band sound like fifteen players masquerading as fifty, nor does a little company of eight have to pretend to be a chorus. In the old days performers made their respective noises int 6 a trumpet. Now microphones have replaced the trumpets, and the actual recording takes place at. some distance from the studio. This additional control over the volume of sound will be appreciated by wireless enthusiasts. The improvement is due largely to observation of methods of sound reproduction by radio. Recording in tho old days was a novel experience. With a band, some were crowded on top of the trumpets others were packed away in extreme corners, others sat with their backs to the conductor and observed his antics through a mirror. The whole contraption was more of a mathematical problem than a musical performance. Under those conditions, players were little use till tljpy had become experienced in recording conditions. The advent j of wireless had changed all that. Records can now be made of a perform- j ance taking place a mile away—with the aid of a few microphones and a land-line.

STAGELAND.

(By “Jack Point.”) Allan Doone and his wife, Edna Keeley, for long popular in Irish drama in New Zealand, were recently appearing ili a sketch in. vaudeville in San Francisco. Associated with Signprina Toti -Dal Monte during her New Zealand tour will be Augusto Beuf, a brilliant baritone, William James, the celebrated Australian pianist, who supported Stella Power, the Australian singer, when she was here in 1923, and Stanley Baines,, tho brilliant' young flautist.

“The Arcadians” hap been chosen by the Auckland Operatic Socioty for its next production. “Miss Hook of ! Holland” will make her' initial bow to the Gisborne public on Monday. Besides being an artistic success, the Hamilton amateurs realised a credit balance of about £l6O on their recent production of “A Runaway Girl.” The musical comedy “No, No, Nanette” has registered in the vicinity of 160 performances at the St. James' Theatre, Sydney. The first opera to pass the Australia was “The Daughter of tho Tambour Major” at tho Melbourne Opera Houso in 1880-81. It ran 101 night*—truly a wonderful run for tho period. Nellie Stewart was Griolet in the later revivals. In 1913 “Our Miss Gibbs” broke a new record with a thirteen weeks’ run in Sydney. An English musical comedy in two acts, “Our Liz,” is running at the Grand Opera Houso in Sydney. Sighing, like Alexander, for fresh worlds | to oonquor, the enterprising Billy Russell, Nellie Bramley’s husband, after varied successes in the dramatic field, has started what promises to be a successful musical comedy season. The people in the cast are of no outstanding merit. Hilda Atenboro, who used to appear in vaudeville with Claude Dampier. plays the part of Lizzie Pickles, the dainty cockney girl who marries a lord’s son. Fedor Chaliapin, the celebrated basso singer, will give only five concerts in Sydney, and these will commence in the Town Hall on Saturday, July 31. The entire Australian and New Zealand season will comprise only 25 concerts, the tour being limited to this small number of appearances owing to Chaliapin’s world engagements. Melbourne is hearing Chaliapin at present. * “I am leaving positively by the Naldera in December. I am the happiest woman ip the world.” Socablos Dame Nellie Melba to Mr John Lemmone, the celebrated flautist. Also, Melba says: “I will sing my last song iin public in the land of my birth.” Incidentally Mr Lemmone will play his last note professionally, and as the tw’o artists made their debut together, so they will go out together. Melba 'had her last concert in London on June 25, and she declares that she had a perfectly glorious welcome and adieu. The recent death of Mr Allan Hamilton, at the age of 71, at his home in The Promenade, Sans Souci, Sydney, closed a long career as theatrical manager. For some years Mr Hamilton was lessee of the Corinthian Theatre, Calcutta, but in 1886 he went to Australia. He then formed the BroughBoucicault partnership, and remained the general manager of the Criterion and Melbourne Bijou theatres for ten years. After this partnership was dissolved, Mr Hamilton continued as business manager to Mr and Mrs Brough for another decade. Since then ho was active in several theatrical ventures

Lorna Helms, the actress, was the pioneer of the new fashion of evening suits for women in Sydney. Just before leaving for London a few weeks ago she adorned the dress circle ot “Rose Mario” in a black velv-et coa and waistcoat, an unboiled shirt, and an abbreviated kilt of face cloth as

near to the texture of the correct male evening wear as possible. It is stated that she didn’t look masculine in the modern sense, but she boro a quaint resemblance to one of the little. Princes in the Tower. Stage folk are the most superstitious of all classes of society. Almost every player pins undying faith in success on the stage to some trinket, symbol of a previous success, or mystic sign which presages benefits. Renee Kelly, an English actress who can really act, and who is at present starring in Sydney in Lonsdale’s “The Last of Mrs Gheyney,” has the the entire Pip Squealc and Wilfred family, besides a large doll and the original apron which “Judy Abbott’’ wore when Miss Kelly played “Daddy LongrLegs” for the first time. May Beatty, who was here last year in “The O’Brien Girl” and “Little Nellie Kelly,” declares fbr Bunny, her ten-year-old daughter, with the greatest enthusiasm. “I feel I have only got one foot in a plane unless she is with me.” By the way, May is off to America early next year, and, of course, Bunny also. “The top theatre at St James, Sydney, is to open on Boxing Night with ‘Abie’s Irish Rose,’ ” said Sir Benjamin Fuller at a luncheon in Sydney' to welcome to Australia the principals of “Abie’s Irish Rose” Company, who opened recently at Melbourne. Mr Hugh Ward emphasised the fact that St. James Theatre, when Completed, would compare with anything of its kind in the world. Four lifts would be. employed, each capable of carrying 25 passengers, and a lift of 100 persons at once wasfunprecedented in theatre architecture. The ' lower theatre at St. James is housing “No, No, Nanette.” Rose, in connection with a stage title for a play or opera, seems lucky. “Rose Marie,” the musical play that i 3 in for a long run in Sydney, is a case in point and so are the operas of “The Rose of Castille,” by Balfe (the composer of the immortal “Bohemian Girl”), and “The Rose of Auvergne,’’ by Offenbach. “Tko Rose Cavalier,” yet to bo heard in Australia and probably New Zealand, is a moneymaker in the northern hemisphere, and “The Lady of the Rose”—Gladys Moncrieff starred in it in New Zealand and Australia —is popular everywhere. To enumerate all the pieces with “Rose” titles would take up too much space, but sufficient is it to mention Barrie’s “Mario Rose,” to bo seen in Australia in August, and the popular “Tiger Rose,” a play that obviously inspired the opera of “Rose Mario,” and which was one of the successes of the enorgetic Taits in Sydney and Melbourne in 1920. “Rose Marie” has broken a record of 263 years’ standing. It is the first play to run for over a year at Drury Lane Theatre, London, since the famous theatre was opened in 1663. A sad omen for those who wanted to keep Drury Lane as the National Theatre 1 Basil Dean wanted to follow up his “Midsummer Night’s Dream” with other classical productions at “the Lane” in the early part of 1925, but had to retire, and Sir Alfred Butt came to the rescue with “Rose Marie,” probably one of the most entertaining musical pieces seen for years on any stage. Australia is lucky to see it so soon, and produced on a scale equal to the London and New York produg; tioiis. *

Now that the Gilbert and Sullivan revival in Australia is in full swing, it is interesting to recall that Nellie Stewart was Yum-Yum in the first Australian production of “The Mikado.” She tells in her memoirs , that the play was a great novelty and a great success, but she had a bad time in rehearsals. At the dress rehearsal George Musgrove stopped the performance to chide her, and to tell her that she would ruin the piece if she did not show him at once what she intended doing with the .part. “But I simply couldn’t,” says Miss .Stewart. “I can’t explain it. I only know that I knew 1 should be all right when the first performance came, and I was.” That was at the Theatre Royal. “The Mikado” was given a little later for the opening of what was then the New Princess’s Theatre on December 18, 188 G. The cast was: —The Mikado, Albert Brennir; Nanki-Poo, W. H. Woodfield; Ko-Ko, Howard Vernon; Pooh-Bah, H. Bonham; PishTush, T. Grundy; Yum-Yum, Nellie Stewart; Pltti Sing, Ida Osborne; Peep-80, Lillie Forde; Katisha, Alice Barnett. I

It is noticeable that Japanese and Chinese subjects have been among the most successful in musical plays. “A Chinese Honeymoon” had 1075 performances in London. “San Toy” had 768, and “The Geisha” 760. Then there is “Chu Chin Chow,” with the record of 2238. “The Mousme,” “Shanghai” and “Chin Chin” were other London successes. And “Madame Butterfly” is always one of the most liked of grand operas. In Melbourne “A Chinese Honeymoon” wag staged at the Opera House (now the Tivoli) with May Beatty as the maid Fi Fi, and Edward Lauri in the comedy role. “San Toy” was the play over which Marie Tempest disagreed with the famous London manager George Edwardes, and as a result she bade farewell to musical parts for many years. The Australian San Toy was Carrie Moore, and Hugh Ward gave one of his remarkable character impersonations as the Chinese Emperor. For “The 0 .slia,” Florence and Beatrice Perry came to Australia. In later productions the incomparable Florence Young was a favourite 0 Mimosa San. Dorothy Vane in one season and Carrie Moore in another provided good fun as Molly Seymour (“Roley Poley San”), and among other clever people of the time were George Lauri, May Beatty’s late husband, Rose Musgrove and Fanny Dango, the last-named being in the original production, in London, of “San Toy.”