MUSIC AND STAGE.

Manawatu Standard, Volume XLVII, Issue 28, 31 December 1926, Page 7

MUSIC AND STAGE.

RECORDED MUSIC

John McCormack has sung two delightful ballads for a ten-inch record which should bo very popular. “Just a Cottage Small” is at present enjoying tremendous popularity in England and the great tenor’s voice is reproduced with complete fidelity. “Mother” is an equally appealing popular song which McCormack invests with his characteristic art. This was written by Mr._ Bryceson Treharne. The accompaniment lent by the salon orchestra calls for special praise. A composite reproduction of the revolutionary scene from the Russian opera, “Boris Godounov” , (Moussorgsky) is of much interest to students of grand opera. The perfoi-mance of this important section of the great historical musical drama is given under the conductorship of Mr Albert Coates, who, it may be recalled, was for many years the principal conductor at the Marinsky Opera House, Petrograd. Thoroughly conversant with the Russian temperament in music, he gives the revolution scene substantial character. The set is in four parts, conducted by Coates and with Messrs Halland, Gwynne, Mills, Kelsey aixd Widdop singing the incidental solo pai-ts. The results are very fine. The chorus, who have the lion's shai-e of the vocal work, sing splendidly throughout. Evoxything they do is ideally vital and the dramatic outbursts have the effect of complete spontaneity, so that the impression of the whole scene is vividly conveyed. The orchestral work is also well recorded and shows at all times an excellent balance with the voices, helping the effect of naturalness. The range of tone amount is very wide, as it always is in the later examples of recording. A soprano singer, Miss Mai-ion Talley, a newly risen star of the American operatic firmament, is introduced in “Qua Voce Poco Fa” and “Cai-o nome.” Miss Talley is of the coloratura school, with a remarkably brilliant voice, rather hard - as it appears on these records, but just the type to take an audience by storm. Progress continues to be reported in the recording of big masses of tone through the -instrumentality of the microphone. No doubt wo shall see still further improvement before very long, but in tho . meantime oxpei-iment is well vindicated in recent issues of actual pei’formances in public buildings. One of tho latest is a record of tho “Hallelujah” Chorus and “Behold the Lamb of God,” made in the Albert Hall during a performance of “Messiah” by the Royal Choral Society,' under Dr. Malcolm Sargent. The voices blend, so well, and have so much resilience, that one does not idealise the fulness of tone implied in a choir of six hundred; but the sections are finely balanced, and not overborne by the orchestra, while the organ gives an effective surge to the ensemble.' Three very attractive song discs have lately been issued. Tito Schipa, a polished singer, possessed of a voice of the true Italian type, sings a song version of Liszt’s familiar “Libestraumo” (much preferable in its original form) and an “Ave Maria” of his own composition—operatic rather than ecclesiastical music. Leonard Gowing’s “Songs My Mother Taught Me” (Dvorak) and “So Fair a Flowei - ” (Lohr) are completely successful for this yoxxng artist’s record. Mr Norman Long, of the Savoy Orpheans, comes along with two of his jolly spruces—- “ Toasts,” a number of which he submits with his usual gay and sparkling observations, and “Down in Our Village in Zummei'zet,” in which his catalogue of the reckless diversions of the village is l'ich indeed. Gi-amophonists will be delighted to know that the three famous artists, Cox-tot, Casals and Thibaud,' have combined to form a tx-io to be known as “The Casals Trio.” This is the kind of news that l-eally does set one tingling with anticipation at the splendid possibilities such a combination offers for the recoi-ding of chamber music. The first records of this trio will be issued shortly. They are excellent, but—there is always a but—these first records only serve to accentuate our desire for more of what we believe will be regarded as this year’s finest examples of recorded chamber music. In the brand new “1812” (l-ecorded goodness knows how many dozens of times!) we have undoubtedly one of the most magnificent pieces of oi'chestral work the new recording system has given the world. Magnificent is the word, for one can all but hear the cannon and smell the powder. The “good old row” towards the end is, this time, infinitely more than a conglomerate of bluiTed brass and crashing bells. It is majestic music amplified to breaking point, but music nevertheless. Easily the greatest finale to the best “1812” ever done. Sir Henry J. Wood and the New Queen’s Hall Orchestra are the artistes—great artistes—and this set of three records is completed on the sixth side with Tschailcowsky’s well-tried 1 ‘Chant-Sans Paroles.”

In nearly every “Tannhauser” disc, up to the coming of the new rendering, the opening brass chords have been hard to get without a suggestion of flatness. In the new overture they are superbly stereoscopic and impressive, while the intricate passages in the fascinating middle sections have a definition and colouring that will surely appeal. These two records of the famous overture are by a Dutch orchestra—the Concertgebouw Orchestra of Amsterdam, conducted by William Mengelberg—a new-comer to the recording field, but fairly well known to the British musical public.' The whole interpretation recorded in a concert hall during a public performance is typical of this conductor’s style, and since it differs in certain essentials from, say, the more strenuous performances of Sir Henry Wood, listeners to whom the overture is familiar will find great interest in the present production. It is magnificently recorded music, in any case. A first record by two grand opera artists whose names will be new out here is that giving William Mai'tin and Marcel Rodrigo’s brilliant singing of the solenne in quest ’ora from ‘La Forza del Destino.” This is one of the last of Verdi’s operas preceding his throe last and greatest compositions, and is a very , lurid affair indeed —all the chief characters die dramatic deaths on or off the battlefild. In this number, more dramatic indeed and real Verdi, as Alvaro and Carlo the vocalists swear eternal friendship on the battlefield—swearing with tenor and baritone voices that, for quality, 1 as well as tone values and volume, will find many admirers in numerous gramophone parGiSlra. Those artists give, on the reverse of this disc “O Mimi” from La- Boheme—tho duet, of poet and painter, singing of their absent sweethearts. There is fine power and emotion and vocal mastery is obvious. The singing has prchestra’J ike-, oompaniment led by Sir Hamilton' Hart-y. • j, . / •: I

STAGE NOTES

Miss Katharine (Betty) Lewis, of Hastings, Hawke’s Bay, who has been studying singing at the New Soxxth Wales Consex-vatorium under Mr Roland Foster,, is on tour with Moscovitcli as tho singer of “Ben Bolt” in “Trilby,” a role which was undertaken by Madame Elsa Stralia in Sydney. The world that loves a lover has been busy weaving a romance round Harriet Bennet (lead in “Rose Marie” in Sydney) who, in dospei-ation, has written to ask that it shall be denied. She says: “It is not true that I am either engaged or married to anyone in Australia. I am still single, and heart-free, and expect to remain 60 for a long, long time.”

Dorothy Lena, a bright comedienne here this year with “Primrose” and “Leave it to Jane,” is playing the tomboy in “Aladdin” in Sydney. After the pantomime Miss Lena will be playing lead in “Tell Me More”— Maude Fane’s role when Miss Fane leaves for England. Wheh Dorothy Lena is not acting she has two ways of “playing parties.” One is golf—“to keep my weight down”—and the other is driving a car. In New Zealand she took the wheel through the small towns, and was able to be independent of .early trains, calls and the tedium of railway travelling. Another Australian artist shortly to go abx-oad to seek fame and fortune on the London stage is Miss Floie Allan. She is a versatile young actress who has played in a diverse series of productions under the management of the Firm. Slie commenced her stage career as Puck in Oscar Asche’s production of “A Midsummer Night’s Dream,” in which she achieved remarkable success. Her career proceeded by rapid stages after this, her roles in comedy, drama, musical comedy and pantomine indicating her ability and vei-satility. In “The Cousin from Nowhere” (revived at Christmas in Melbourne) Sliss Allan has her most impoi-tant pai't to-date, in which she lias scope for her ability as a comedienne. On the conclusion of the run of this play she will sail for London.

On board the,Ventura, which arrived in Sydney on December 18, was Miss Judith Anderson, the brilliant young Australian leading lady, who will make her appearance in the first Sydney production of “Cobra,” in which she became a star over-night in New York. An interesting cast will be associated with her in “Cobra,” including Michael Hogan, a well-known American actor; Henry Daniel, who will play the role in which he appeared in the London production; Olga Lee, a well-known actress from tho New York theati-es, and Dox-is _ Johnston, who played the lead in the recent Australian and New Zealand production of “The Farmei-’s Wife.” An immense amount of interest is being taken in the appearance of Judith Anderson in “Cobra.” in which she will play the “vampire.”

New Zealand is to have a first production. It has been arranged by J. C. Williamson, Ltd., that the pre-miei-e of “Frasquita” will be given in New Zealand, probably at Christchurch, during the tour of the Dominion by the “Katja” company. Marie Burke will have a very pictui-esque character to portray in the title role of this romantic comic opera, the music of which is by Franz Lehar, of “Merry Widow” fame. Associated with Marie Bui-ke will be a specially selected cast, including R. Barrett-Lennard, Herbert Browne, Cecil Kellaway, Thelma Burness, Noel Dainton, Marie Eaton, and others. The dancers will be Robert Helpman and Sylvia Miller. Mr Chai’les A. Wenman will produce “Frasquita,” which will be staged on a lavish scale, to which the Spanish “Doloi;” and atmosphere of the play lends itself. Miss Minnie Everett will “create” the ballets and dances, and arrange tho ensembles.

The J. C. Williamson attraction at the King’s Theatre to follow “Bi-own Sugar,” in which Renee Kelly has been delighting large audiences in Mel-boux-ne, is “The Nuughty Wife,” a sparkling cornedy which has been a great success in England and America. It is described as. “by Fred Jackson, elaborated and i-evised by Edgar Selwyn.” It is, as may be surmised another play of the “eternal ti-iangle,” but the human intei-est is intei-woven with delightful comedy touches, clever characterisation, and a climax'‘that takes the audience completely by surprise. The dialogue sparkles all through, and Renee Kelly has a fine part, which suits her admirably. “The Naughty wife” will add to the popularity of this delightful actress. The new Empire Theatre in Railway Square, Sydney is to be opened on March 1. Two musical comedies have been secui-ed so far—“ Sunny” and “The Student Prince”—both from New York, though “Sunny,” with a circus theme, is even now making a big hit in London with Binnie Hale, the original English “Nanette.” Wynne Richmond, who was included in the New York cast, is going to Sydney for it, and also Queenie Ashton from England, Maurice Diamond, who was at the Tivoli (Sydney) last yeai-, will return to look after the dancing side of the productions.

WHAT’S THE REASON.

There are scores of people who drag out a miserable existence without realising the cause of their suffering. Day after day they are racked with backache and headache, Buffer' from nervousness, dizziness, weakness, langour and depression. Perhaps their kidneys have ” fallen behind in their work of filtering the blood, and that may be the root of the trouble. Look to your kidneys; assist them in their work; give them the help they need. You can use no more highly recommended remedy than Loan's Backache Kidney Pills, endorsed by people all over the country. Mrs W. Storey, Monrad street, Palmerston JS'ortn, says: “It gives me great pleasure to say a few words in lavour of Loan's ! Backache Kidney Pills. I took a , course of this medicine some time ago j and jit completely cured me of back- : an ailment I had suffered from j for a& good while. The constant torj ture of this complaint affected my genj era! health, ana when 1 nrst scar ted taking Loan’s Backache Kidney Pills 1 wait in a yery run down state, but j this rbmedy soon put me right and I . have>;ielt splendid evor since. I must ; also add a word of praise for Loan’s : Ointment. One of my boys was troubled | with hasty sores on his face so I ! bought a pot of Doan’s Ointment and appfio*l it carefully and in a very few days the sores began to heal and soon disappeared entirely. The soothing and healing effectsjijf .Loan’s ointment are and/ ffiall always have a good wprd to si i-.>yiit.”—Loan’s baokitche kiu.nav p 3 a „ V-rffß-j by alhchomibts ant per / bottle or wid j ■,, e i jißhi