MUSIC AND STAGE.

Manawatu Standard, Volume XLVII, Issue 124, 23 April 1927, Page 7

MUSIC AND STAGE.

RECORDED MUSIC. “Tannhauser” (Venusberg music, and Prelude to Act 3—Wagner). Played by the Symphony Orchestra, under Albert Coates. These remarkably fine examples of modern orchestral recording, issued some time ago, may possibly have escaped notice. The famous “New Venusberg music” was written for the historic first Parisian production of “Tannhauser” in 1861. The curtain rises to disclose Tannhauser in the abode of Venus. A wild . dance takes place by revellers and later by a troup of Bacchantes. As the dance dies down through the exhaustion of the performers, the voices of sirens are heard singing “Come to these bowers.” For this scene Wagner has given us some of the most extraordinary pages he ever penned. The orchestration is marvellous, and the whole passage glows with fierce passions and exquisite languors. “The Gentle Maiden”—“Rococo,” ’CeHo solos, by Cedric Sharpe. Palmgren’s charming and tuneful little “Rococo” forms a contrast to the more wistful melody of “The Gentle Maiden.” The latter is one of the most beautiful melodies in existence. The listener will note the remarkable clearness with which the ’cello is recorded.

Vocal melody and piano. Here, on a 12-inch disc, we have all the conventional items of a concert programme in miniature. _ Here is the list: Part I—Opening Chorus: VStrut Miss Lizzie’’; piano solo by. Frank Banta; “Love’s Old Sweet Song,” by Sterling Trio; monologue by Monroe Silver; “When You and' I Were Young, Maggie,” by Henry Burr: “Casey Jones,” by Billy Murray and. Chorus. Part 2—lntroduction: “Sweet' Genevieve,” by Campbell and Burr; “Saxophobia,” by Ruby Wiedoeft; “Gipsy Love Song,” by Frank Croxton; “Carry Me Back to Old Virginny,” by Peerless Quartet; “JMassa’s .In de Cold, Cold Ground,” by Chorus. This is quite a good fireside catch.

“Song of the Flea” (Moussorgsky)— “La Columnia E un Venticello” (Rossini’s “Barber of Seville”). These two recordings are probably amongst Chaliapin’s best, and in case they have been overlooked are worth recording to the notice of gramophon-. ists. The assertion that Chaliapin never repeats himself is absolutely confirmed i it these re-recordings of his two great popular successes. The world’s greatest singer has immortalised Mephisto’s “Song of the Flea” (by Moussorgsky) which he sings with inimitable sarcasm and- realism, and his sardonic laugh is quite unique. It is not generally known that Chaliapin has made an outstanding success as Don Basilio in Rossini’s “Barber of Seville.” In this aria the teacher of music describes how slander spreads. and gathers weight on its way, comparing it to a wind, which, gradually getting up force, breaks into a storm. Chaliapin’s subdued voice admirably suggests the gradual change and terminates in a magnificent climax.

“At Peace With the World” — “Val-encia.” Jessie Crawford, organ. The clever organist here combines, on a single record, arrangements of the newest Irving Berlin sentimental songhit and the fox-trot, “Valencia.” The first number is skilfully registered and played, and the “baritone” quality of one solo stop is notable. The melody is slow and ingratiating. With the companion number the scene changes. The melody is Btrong, free, and stimulating ; the rhythm somewhat like that of the old two-step, or of the earlier “Chasse” in the square dances. “At peace With The World” — “Lonesome and Sorry.” Salon Orchestra. _ It is difficult to know which to admire first of the Salon Orchestra’s attributes; the attractive little pieces it plays or the extraordinarily colourful instrumentation “with effects.” Rich string tone, clear woodwind and a multitude of strange and pleasant “effects” or vibraphones, pianoforte, etc., characterise these records. “At Peace With the World” is Irving Berlin’s latest successor to “You Forget to Remember.”

“Breezing Along with the Breeze,” “Moonlight on the Ganges.” The Revellers. Their brilliant records have gained the Revellers many thousands of admirers; indeed, the first records were instrumental in securing their engagement to appear in Great Britain. They were recently singing in London with great success. These five singers produce an ensemble of an extraordinary and unique quality. Their records are in every case irresistible examples of snappy “rhythmic” singing combined with rich harmony between the voices.

Almost. reaching perfection the disc of Handel’s “Messiah,” sung by the Sheffield , Choir, conducted by Sir Herjry Coward, should be included in all music lover’s libraries. This choir has always been famed for its unity, but it has surpassed itself in clearness of delivery and masterly interpretation of the triumphant theme of these glorious “Messiah” choruses. The recording is brilliant, particularly in the vigorous finale fof , “And the Glory” where the voices swell out in to superb crescendos with tjhe tenors ringing fresh and clear.

To the list of names of famous singers who have placed on record gems from Verdi must now be added that of John O’Sullivan. His success in Italy has been phenomenal and in many other operatic centres also. His voice, whilst possessing a rich Italian quality still retains a touch of the Irish brogue, and it is thus made an excellent medium for such dramatic works as. “Otello.” His rendering of tho tragic arias of the “Monologe” and “Ora e per eempre addio” is very rich and emotional, and his voice full of the dramatic quality so necessary to the success of these excerpts. “Otello” was written by Verdi in hie third period, following the production of “Rigoletto.” “II and “La Traviata” and was from the first completely successful. One of about a dozen overtures intimately associated in the public mind with that form of “popular” classical music that is readily understood and \easy to appreciate, is Rossini’s “William Tell.” It has, of course, been played by practically every musical combination and solo instrument, and recorded over and over again by the different companies. One rendering of it is in three parts by the New Queen’s Hall Orchestra, conducted by the famous Sir Henry J, Wood. This particular set is still one of the best available, not 'only on account of its high musical quality in a playing sense but because the actual * reproduction on any. good gramophone is altogether satisfactory, whether in the placid, and serene passages of the “calm” section, in the dramatic fervour of *_the “storm,” or in the vigorous and swinging “Finale.” This work became famous just a hundred years ago and indeed took Paris by storm when it was first presented there. These two records are completed by the same orchestra with jgn artißtic version of

STAGELAND.

(By “Jack Point.”) “The Best People” have intimated that they will be “at home” at the Opera House on Saturday evening next. Beatrice Hay will be one of the chief entertainers. The older playgoers will have pleasant memories of Miss Maidie Scott, a Williamson vaudeville artist here a few years ago, was married in London last month to a mining engineer. According to Miss Scott her second husband had waited for her for twenty years. Victoria Monks, the well-known music-hall artist, died recently in London after a long and successful stage career. Her greatest song hit, “Won’t You Come Home, Bill Bailey?” was sung all over the British Empire many years ago. Among those engaged for Williamson’s new opera company are Toti DalMonte, Lina Scavizzi, Apollo Granforte. and Gaetano Azzolini. They were popular members of the company which appeared in Australia in 1924. Probably the company will open at His Majesty’s Theatre, Melbourne, in September.

“Madame Pompadour” will commence in Sydney on May 21. The Dutch girl, Beppy de Vries l who arrived the other dqy in Australia by the Maloja, will not require many rehearsals for "Pompadour,” as she has played the title.role so often. A new producer—name of Blackman—is en route. He givgs his London address as Daly’s Theatre. The Renet. Kelly company concluded their season at the Adelaide Royal on April 9, after a week of “Brown Sugar.” The company opens at ‘Wellington on May 18 in “The Last of Mrs Cheyney.” In London this intriguing and mystifying play proved one of the outstanding successes of the year. Sir Gerald du Maurier and Gladys Cooper, two of London’s most famous artists, appeared in the principal roles. Muriel Starr is having a season at the Melbourne Princess. “The Goldfish,” a comedy Miss Starr appeared in in New Zealand, is the present attraction. Jwo other new plays, “Nice People,” a comedy-drama, and “Cornered,” a drama, will be staged during Miss Starr’s season. Harvey Adams is still leading man .and producer.

Wanganui Amateurs have chosen “The Arcadians” for their next production. “Miss Hook of Holland” meant a loss to the Gisborne amateurs of nearly £IOO. The Little Theatre Society at Auckland finishes a brief season to-night of “You Never Can Tell.” It is a comedy that belongs to Shaw’s earlier period, but with all the charm and wit of his later works. At a recent social held by the Hawera Operatic Society a lecturette on “make up” was given. This is an example that might be followed by the local society. “The appearance at the Coliseum of Elizabeth Pechy, who was displaced from ‘The Blue Mazurka’ in favour of Gladys Moncrieff, has shown that she is no indifferent artist, for the lady sings and looks uncommonly well,” writes a London correspondent. “It has also shown that her command of English in stage delivery is not so fluent as it Height be; but, whatever managements may say, Londoners don’t care a button whether they understand the words or n6t so long as they are sung by an attractive woman with an excellent voice. She recalls the Grace Palotta that Australia and Now Zealand knew thirty years ago, but her voice is heaps better.” •

“The Cousin from Nowhere,” is the bill at - the Royal, Sydney, and will continue until “Tip Toes” is ready to dance. In previous stagings in Sydney and Melbourne of “The Cousin From Nowhere” there were difficulties over the part of Julia Van Osten; it was in this role, after two other leading ladies had failed to meet requirements, that Maude Fane broke with the Williamson management. In the Sydney revival Margery Hicklin (here in “Primrose”) is the girl who plays a joke upon a handsome tramp by making him believe he has arrived at a fairy hotel where his lightest wish will be gratified. “Rose Marie” and “The Ghost Train” are Melbourne’s two great attractions these days. The Gilbert and Sullivan season opened in Adelaide on April 16. tho curtain ringing up “The Mikado.” A 3 a send-off in Sydney, the company gave a blended bill —the first act of “The Yeomen of the Guard” anc. the second act of “The Gondoliers.” In the final week’s revivals the best item, it is stated, was the appearance of Strella Wilson as Yum-Yum i:i “The Mikado.” “Tip T 038,” a dancing musical comedy, will open in Sydney on April 30. An American, Elizabeth Morgan, is tha star. Olsen and Johnson may be annexed from the Tivoli vaudeville circuit to help on the good work of miking the comedy a firstrate success. The parts suggested are two of three shrewd vaudeville artists. “Money by hook or by crook is their methods. Their partner is Tip Toes, the dar.cer, Elizabeth Morgan’s part. She rehearsed on the boat all the way from •’Frisco, and had the use of the top deck for exclusive practising. Geraldo and Adair—two more Tivoli artiste, are almost certain to join “Tip Toes” for their own speciality acrobatic dancing act.

Melbourne has been getting of late a lot of plays secondhand from Sydney, but sho is soon to be given some ••first productions.” One will be Michael Arlen’s “Grsen Hat,” to be staged at the Royal ty Leon Gordon, who will leave for England immediately after the .first night. Judith Anderson will wear the gay headpiece. At tho King’s Musoovitch will produce “The Ringer,” by Edgar Wallace. This exciting crook drama, through which the London police search industriously for a super-murderer, had a long run at Wyndham theatre. Somerset Maugham, probably the most consistently successful of modern dramatists, is—so ho says —giving up the stage. He proposes to finish one more play and then devote himself to short-story writing, ‘‘which is much better fun.” As he must have made a lot of money at both pursuits he can afford to indulge His two latest pieces are sucoessful in America and England respectively. “The Constant Wife” is one of the season’s notable hits in- New York, with Ethel Barrymore in the lead; and at London Playhouse Gladys Cooper is the

Mascagni’s lovely “Intermezzo” from the opera “Cavalleria Rusticana.” Children who have been lucky enough to have heard Billy Grey in the “Inkwell Fairies” records will be delighted 'to hear that another set of three is now out. These are as good as j their forerunners, and Billy’s clever and amusing animal and toy imitations will surely delight grown ups as well, as the biddies.

' ■ * star of “The Letter.” The smlrteet and sauciest of Maugham’s comedies, “Our Betters,” was secured for Australia a long time ago. Nellie Stewart finished in “Sweet Nell of Old Drury” at the Sydney Criterion on Friday.. The dress she has been wearing in the last act of “Sweet Nell” has a history. It is one hundred and fifty years old, and was worn by Miss Abingtqn as Lady Teazle in the first production of Sheridan’s “School for Scandal” at Drury Lane in 1777. Miss Stewart’s Melbourne season ol “Sweet Nell” was like a page from romance. All the old glamour surrounded her, and the galleryites used to gather about four in the afternoon to form a queue for seats. In the long lane of the Theatre Royal they waited, and Miss Stewart used to send them out tea. On the last night all the gallery seats were booked up, and almost every evening people were turned away. Allowing that the royalties on “Sweet Nell” were smaller, the profits for the month were greater than those of “Rose Marie.” While in Melbourne Miss Stewart stayed with her sister, Dorie Camboissier, and her son, and both were-with her in Sydney on a visit. The diamond wristlet watch presented on the last night by J. C. Williamson, and the illuminated address from the gallery girls, were onld a few of the many tributes from old and new admirers of to a national stage idol. They say a man is not a hero to his valfet. But what about a woman? Miss Nellie Stewart has been a heroine to her dresser, Emily Sherwood, for at least half the years of her stage life. Everyone back stage (says a Sydney paper) knows Emily as sho is called. Emily has been with Nellie Stewart for years—off and on of late, but always “on” when Nellie is acting. Since “Sweet Nell of Old Drury” was first produced she has been her dresser—probably long before. Her brother, Freddie Sherwood, was “man” to George Musgrove, and, when he died, it was Freddie who knew most about his theatrical effects, scenery, rights to plays, etc., and it was Freddie who years ago proved an invaluable- aid to the Firm in sorting out the scene docks when'they took over.

This is from the London Daily Mail: “There is much to recall the old days of Daly’s Theatre —“The Merry Widow” days—in “The Blue Mazurka.” In the first act, at least, the jingle of the jazz is seldom heard. Instead there are flowing melodies, gracefully reminiscent of the many pieces from Vienna so freely imported before the war. The scenery, too, is of the old substantial type familiar before producers discovered ways of lighting. As another link with “The Merry Widow” days, there is also the return of George Graves, with gags designed on the old broa4, lines and a comic jpose exactly like that which he made famous long ago as Baron Popoff. After the play had ended there was applause for George Graves from loyal admirers and cheers and baskets of flowers for Gladys Moncrieff, a young Australian actress, who sang charmingly some charming music.” In 1912 Miss Moncrieff first .appeared on any stage at. His Majesty’s Theatre, Sydney. She was a chorus girl in a revival of Cellier’s “Dorothy.” In -June of 1916 she played her first part, Sombra, in “The Arcadians.” That was at His Majesty’s Theatre, Johannesburg. In 1912 Miss Moncrieff. would have received not more than £4 as a chorus girl. Before she left for England a little over a year ago she drew a weekly salary of over £IBO.

Mr John Black, whose death at the age of 74 was reported from Sydney this week, was the head of the wellknown Black family of musicians, who toured professionally for many years They originally belonged to Invercargill, to where Nellie Black, now Mrs J. W. A. Prentice, returned when she retired from the professional life of violin playing. Mr Black was in Invercargill on a visit to his daughter at the beginning of this year, Mr and Mrs Prentice finally returning with him to Sydney, where he had made his home.

PAY DIRT. RICHES DISPLACE ART. LONDON, April 14. “There is a distinct danger of the British stage becoming a sink of sexuality. In order to be successful, every new play lias to go a bit further, has to be more daring—in other words more indecent,” declared the novelist, Jerome K. Jerome, speaking from the stage of the Bristol Little Theatre. He blamed the large theatre, which was compelled to cater for the mob in brder to pay expenses, and advocated the establishment of little theatres everywhere. “To be successful,” he said, “a London play must draw £2OOO, a week, and when such riches pour in the box-office window art flies out of the stage door.” \