MUSIC

New Zealand Mail, Issue 1747, 30 August 1905, Page 28

MUSIC

NOTES BY “6” STRING.

Wellington music lovers will be pleased to hear that Mr Hugo Heermann will Kive a farewell concert in the Town i±aii on Monday evening next. The principal item on the programme will be the performance .with* orchestra of Beethovens •mighty violin concert o. Jingo Jieer toann’s performance of this great work in Melbourne and Sydney created, an immense sensation. Heermann is the greatest living performer of this Concerto. A oomio >pera, “The Village Borneo •nd Juliet/'’ by Mr Frederick Delius, has t>eon accepted for performance this seaeon in Berlin. , ./It is stated that the expenses of the recent Festival performances at Cologne were .£SOOO and the receipts The operas performed were Fidelio, T>ie Meiaterßinger,” “Tristan und Isolde, “The Barber of Bagdad, and Feuersnot” The two last-named were conducted by Richard Strauss. A feature of the performance of “Die Meastersinger” was that several choral societies of Cologne and the neighbourhood as. eisted in the last scene, and there were nearly 500 people on the stage. The effect is said to have been most impressive Most of the artists who took part have been heard at one time or another at Covent Garden. {Several English, contemporaries have announced with much solemnity the discovery that. Humperdinck’s ‘'Heirath Wider Willem” will be produced for the first time in Berlin next season. The opera was staged in Berlin in Apnl last. Covent Garden Theatre has never witnessed a more striking scene than the farewell matinee to Mile. Bauermeister, £iven on the afternoon of the 12th July. a spite of the heat, the theatre was •imply crammed with society folk, and at the back of the house were three rooms full of bouquets, presented to the retiring •inger by distinguished members of the audience and artists. Princess Christian and Princess Henry of Battenberg represented royalty, and the people present included the Duchesses of Portland, Manchester, Marlborough, Westminster, Roxburghe, and Sutherland, Lady dg Grey, Lady Maud War render, Mrs Rube, Mrs Arthur Wilson, and numbers of other well-known society leaders. BouSueta were sent to the retiring artist y the Countess of Cavan, Mr A. Rothschild, - Lady Molesworth, Countess de Grey, Lady Brassey, the Duchess of Manchester, Mrs Arthur Wilson, Lady Mount Stephen, the Opera Syndicate, and numbers of other friends. The performance •had been organised by Mme. Melba, who has been working exceedingly hard, even selling tickets personally amongst her society friends, in her fellow artist’s behalf. The first two acts of “Romeo et Juliette” were given, with Mme. Melba •s Juliette aud Mdle. Bauermeister her•elf as the Nurse. At the fall of the curtain upon the second act there was ji.n interval of a few seconds, and then it rose again upon a unique scene. In front stood Mme. Melba with Mile. Blauermaister, and the ballet girls had grouped around them, in the form of a great semi-circle, the magnificent flowers Stile. Bauermeister had received. The latter tried to speak,, but bursting into tears, turned to Mme. Melba. Melba embraced her, and then the beneficiare said a few words. “I can hardly realise, after so many years, that I shall never sing again, but I know that now I must give way to younger singers. But I thank you all, whom I love, for your kindness, and can only say to you that I have always tried to do my duty to you. But for dear Mme. Melba,” continued the speaker, “I should never have bad this benefit.” Mile. Bauermeister then looked round for Melba, but the latter had gone off the stage. Beckoning was of no use, so Mile. Bauermeister, turning to the audience, said, "Do ask her to come and speak.” At length Melba appeared with another bouquet, which she threw at her, with mock indignation. With characteristic modesty the great singer refused to speak, merely bowing, whilst Mile. Bauermeister pushed her forward. Then, amidst tremendous cheers, the curtain dropped finally upon a singer who has had a 40 years’ career. The remainder of the performance consisted of an act from “La Boheme,” in which Melba, Caruso, Parkina, and Beotti sang. Mr Henry Russell does not agree with the pessimists who say that opera will not pay in EUgland. His season at the Waldorf Theatre, in London, he declares

to have been a brilliant season. But on * the general question he uttered eqgne interesting comment the other day. “In certain countries/' said Mr Russell—“in France* Italy, and I think Germany—opera is a great national function. In England the great national function is Sport. Somehow, football, cricket, and rowing do not seem to go with the sensitive neurotic temperament. Yet I .would not have you mistake my meaning. There are indications that if only we have patience and perseverance, England will eventually yield a very large opera public. Hitherto, unfortunately, opera

in this country has been almost a monopoly of society. The great mass of the people have r had no opportunity to develop an educated taste. What I would like to do would be this —own a largo theatre like the Coliseum, and give firstrate performance® at the _ prices now charged for variety 'entertainments. At the ‘Waldorf the cheap parte the house have been best patronised.’ It was announced some weeks ago that a successor had been appointed to the late Professor Kniese at Bayreuth; but it is now semi-officially stated, that the Bayrenth School of Singing will be discontinued. . Dr jp rederic Cowen’s success in the direction of the Festival of British Music at the Crystal Palace in Jnne last, is cordially recognised. There was an immense attendance at the festival. M. Gabriel Fanre has been appointed director of the Paris Conservatoire. This famous composer last appeared in London in 1896 at M. Leon Deiafosse’s concert at St. James’s Hall.

“Madame Butterfly,” which was produced at Oovent Garden on Monday night the 10th July is the best opera yet composed by that prominent member of the modern Italian school, Signor Giacomo Puccini. The story is strong, and the music, from, the melodic point of view, is also strong. Indeed, there is not a dull moment in the whole work, though the excision of a few passages might further intensify the dramatic situations. Based on the play “Madame Butterfly,” which was produced a few years ago at the Duke of York’s theatre, with Miss Evelyn Millard in the titlerole, the libretto of the opera closely follows the story as then told. There is the pretty geisha who is married to the American naval lieutenant, and who subsequently finds that he is unworthy of- her love; there is the eounsul who endeavours to explain to her that her lover was not sincere, and never intended her to take him seriously; there is the faithful servant who loyally helps her mistress and protects her honour. The opera was very successful, and the crowded audience, which included the King, the Queen, Princess Victoria, and the Crown Prince of Greece, enthusiastically applauded the leading artistes at each fall of the curtain. To Mile. Emmy Destinn fell the honours of the performance, for her embodiment of the unfortunate geisha was dramatically and vocally a great triumph. She was on the stage nearly the ■ whole but her voice stood the strain surprisingly well. Signor Caruso represented the dubious hero in bold and dashing fashion, and specially distinguished himself in the beautiful love duet at the end of the first act. Madame Lejeune rendered excellent service by her sympathetic demeanour as the maid, Suzuki, and Signor Scotti made the most of his opportunities as the Consul. The performance was ably conducted by Signor Campanini, and afterwards Mr Tito Ricordi, the publisher of the score, entertained the company at supper.

An American journal states that "Frau Schumann-Hainck will ’make a tour of the United in a new oomie opera "with one tragic scene" next winter, and will sing at Bayreuth next summer. Of the long season of Mr Branscorn be's Westminster Concert Party in Melbourne, the f ‘Australasian” says:—"There is no doubt that the company has achieved a remarkable success during its visit. In spite of the large number of concerts given, there has hardly been a poor house all the time, and it should be said that this result has not been gained by any degradation of the musical art. There has been much \ popular, but no vulgar or meretricious, music performed. The soloists are all of them worth hearing, and the part-singing is ©imply ideal.” Mr J. Nevin Tait writes from London under date July 13 to announce the departure of Miss Maggie Stirling by the Aberdeen for a tour of 40 concerts in Australia under the management of himself and Mr John H. Tait. Miss Stirling, a mezzo-soprano with a beantiful voice, who has seldom appeared in Sydney, left Melbourne for Europe about six years ago, studied under Mme. Marchesi in Paris, and afterwards made many important appearances in Bon don and elsewhere, and before the Prince of Wales and other royalties. Mme. Stirling's last engagement was on tonr a few weeks back with Mme. lalian Blauvelt under Mr Vert's management. Miss Ethel Sinclair, a Melbourne violinist, who went to the Royal College of Music, Bondon, as Clarke scholar, and was ultimately appointed conductor of the orchestral classes there, will support Mme. Stirling. She bears the reputation of a brilliant player. On the day of writing Mr Tait had luncheon with Mme. Ada Crossley and Dr Mnecke, at whose table he met Miss Amy Castles. It appears that Miss Castles has decided not to sing in grand opera in Paris, but to settle down to concert work in Bondon. Mile. Antonia Dolores now has a great reputation all over Eturope, and was just starting upon a third tour of Germany. Mr Tait pronounces Mischa Elman one of the greatest sensations of the day. "The playing of the boy violinist is so full of power and feeling that it is incredible unless ■actuallv heard It almost suggests that

the boy must be the reincarnation of some great musician of bygone times. He is understood to be endeavouring to visit Australia, but Mr Tait remarks that the terms were very high. Elman s agent was recently communicating with Mr J. C. Williamson, who hesitated to embark upon such an uncertain enterprise. Mr Hugo Gorlitz, manager for Kubelik, is trying to fix up arrangements for the Australian tour of that great artist. For some time Mr Gorlitz has been negotiating with Mr J. O. Williamson for a tour early next year.

Mr Cyril Monk, the clever Australian violinist, has just passed with honours the highest professional examination of the College of Violinists, London, and has been awarded the first and only gold medal issued since the institution was incorporated in 1890. Three professional degrees are notified —Associate, Licentiate, and Fellow. The last-named is the one bestowed on Mr Monk, F.C.V., who not only secured it with honours, but for the first time in the history of the institution was awarded, the full 100 marks possible, entitling him to a gold medal. The examination was a very stiff one in harmony and theory of music. The pieces chosen by the candidate were the Bach “Chaconne,” the Beethoven Concerto, Wieniawski'a Concerto No. 2 Vieuxtemps’ '‘Ballade and Polonaise,” and the “Preludio in B Major,-op. 110,” by his master, Guido Papini. The list could hardly have been more formidable. Mr Basil Althaus is director of the College of Violinists, and the board of examiners includes Wilhelmj, Sarasate, Sauret, Chevalier Ernest De M.unck, and other artists of note. The result is therefore one upon which the Sydney violinist may be warmly congratulated. Messrs Chappell and Co., 11-12 Rialto, Collins street, Melbourne and London, have forwarded me a batch of music which includes some of the latest vocal and instrumental successes in Eingland. Amongst the budget are the sacred song '‘Through Life’s Long Day,” “Have You Forgotten,” “Do You Remember,” “Eavesdropping/’ “Love’© Last Word,” both a© the valse song (in English and French) and as a dance. It \B one of the Parisian successes of Octave Cremieux, and known as “Quand FAm our Meurt,” and is pleasing and melodious in both instances. Franco Leoni’s “The Rose Fairies” is from the song cycle “Fairy Dreams,” also the ‘'Enchanted Hour,” a captivating duet for soprano and contralto, from the same cycle. Bothwell Thomson’s “Love in the World” is a fine song. “Fidelity,” by Isobel West. The two valse number© are ‘'Fun Follet” and “Effleurante.”