MUSIC.

New Zealand Times, Volume LXXI, Issue 4396, 29 June 1901, Page 1 (Supplement)

MUSIC.

NOTES BY G STRING. The Josephine Stanton Opera Company gives an entertainment which is bright in its way, and it numbers some excellent voices in its ranks. “Said Pasha” is not opera. It is very far removed from it, and closely resembles boisterous musical comedy, or even pantomime. Miss Stanton, the prima donna—whose solos in “Said Pasha,” by the way, are two coon songs—sings sweetly, but affects the vibrato style, and her voice is spoiled for the lyric stage by her pronounced American accent, which in the mouth of a Pasha’s daughter, at all events, is out of place. Mr Henry Hallam, who visited New Zealand some j - ears ago, sings with taste, and though his voice is very light, he makes the most of it. Theactingall round is generally good. Mr Kunckel, who plays the chief comedy part, is a host in himself. He scores all his points without effort, and in a quiet but forceful style which reminds one very much of Mr Lauri. * * * * * All New *Zealanders will be pleased to learn of the continued success of Madame Bertha Rossow, the Australian singer, who has visited this colony more than once. Since her arrival in London some few years ago, she has advanced to a leading rank amongst soprano vocalists on the concert and oratorio platforms, and her services are being constantly sought by leading societies in the various parts of England.

The son of Herr Pechotsch is spoken very highly of for his violin playing. His father having sent him to Europe to study, the boy, who is said to bo only 14, did remarkably well, and has entered upon a career which promises to be unusually successful. >He is now a member of Madame Belle Cole’s company touring Australia. This is from a recent notice in the “Argus” :—Mas. ter Raimund Pechotsch, who is said to be 14, seems to have a wonderful sense of movement. In Sarasate’s setting of Chopin’s E flat nocturne the young violinist did nothing remarkable, but in another piece, Sarasate’s “Ziguenerwissen,” he exhilarated the audience by his complete command of tempo, and the rnythmical sweeps of his bowing, in the same way that Miss Adela Veme used to do at the piano. Master Pechotsch’s harmonics, too, are always admirable.

“What do you think of Mr Musgrove’s staging of Wagner’s opera?” was asked Mme. Ella Russell, hy a Melbourne press, man. “I think,” was her reply, “it is all that can be desired. There is absolutely no room for improvement. Orchestra, chorus, and a careful selection of principals—l do not wish- to flatter myself, of course —are there, and the operas should go well, and they* do, too. The way the audiences have applauded ( Wagnerian music since I have been in Melbourne- has surprised me; they seem to have been gripped by the power of the master’s works, and it is not affectation either; it is perfectly genuine sentiment. Folk here are quick to pick out the real beauties of Wagner’s works. You would not find that gift displayed in every country.”.

Mdlle. Dolores has concluded a season in Brisbane, and is now touring the principal country towns of Queensland.

An important musical event in Rome last April was the production of Mascheroni’s new opera Lorenza, with the well-known singer Gemma Bellicioni in the chief role. The composer is said to have made an honest attempt to outdo his brethren of “Young Italy,” but for the general public the opera was a failure, as it was found lacking in invention and unduly diffuse. All the efforts of a celebrated singer could not save the work. *****

Mr Arthur J. Royd, the Australian baritone, now in London, has been 'secured by the Carlisle-Carr Concert Direction for their series of Artists’ Popu. lar Concerts.

The Sydney Philharmonic Society is now busily rehearsing “The Crusaders,” though heard several times in New Zealand, is new to Australia.

Some English provincial towns of hardly third rate importance contrive to run “musical festivals,” and to run them very creditably, too- Bridlington, a small place in the East Riding of Yorkshire, is one of these; and at its latest festival performances were given of the “Elijah,” the overture to “The Plying Dutchman,” and vocal excerpts from the same opera, the cantata “Hiawatha’s Daughter” (Coleridge Taylor), Beethoven’s “Leonora No. 3,”-and a new and musicianly overture to the “Canterbury Tales,” written for the occasion by Mr John Camidge, organist <sf Beverley Minster. The Bridlington festival is not carried on strictly on financial lines; but the conductor, Mr A. W. M. Bosville, the Squire of Thorpe, is a great musical enthusiast, and in addition to organising the affairs of training the chorus and wielding the baton he usually makes himself personally responsible for any deficit. This present year Mr Bosville happens to be one of his Majesty’s High Sheriffs of the county of York, and it was waggishly suggested that the exalted duties of that office might be fitly alluded to in drawing up the musical programme by including Sullivan’s “Trial by Jury” and the chorus sung in praise of the Lord High Executioner in “The Mikado.” The future of music in “unmusical England” ought' to be assured if there are many wealthy amateurs of Mr Bosrille’s stampknocking about.

In preparation for a short visit to Bristol, the Mqody-Manners operatic company invited music lovers to indicate the work* they would prefer by means of a plebiscite. The result wa s not inspiring, but went to strengthen the opinion of those who believe that lyric drama has still no great hold upon popular favour. However, some hundreds of persons sent in lists, when it appeared that “Tannhauser” headed the poll, with “Carmen” second, “Faust” third, “Lohengrin” fourth, “Flying Dutchman” fifth and “Bohemian Girl” sixth. “Tristan,” as often before in like circumstances, was out of the running. The six operas chosen at Bris-

tol may, perhaps, be accepted as indicating public taste generally in th a English, provinces.

Mr G. H. Macdermott, the wellknown Macdermott of the London musio halls, died last month. Mr Macdermott, who was about fifty-eight years of age, was once a well-known musichall artist and pantomimist. In early life he was a seaman in the Royal Navy. After some experience of pantomime at .Covent Garden under the management of the father of the late Sir Augustus Harris, he devoted his attention to the music-halls, and made his ( first hit with a song by Mr Henry Pettitt, entitled, “If ever there .was a scamp.” His greatest success, however, was the song with the well-known refrain “We don’t want to fight, but, . by Jingo, if we do.” It took the popular fancy, and gave a title to a seotion of the Conservative party. The song had an international vogue, and was translated into several languages, including those of the countries at which it was supposed to be specially directed. «•\ * « •

It has been proposed to found a scholarship in memory of Mr D’Oyley Carte at one of the large London academies of music. The idea has found favour with many persons connected with the Savoy in the past, as well as at present.

• * • • * It is announced that Joseffy has written a book on pianoforte technique. The work is looked forward to with eagerness by pianists. and teachers. • * • • *

The Covent Garden opera season started last month with Gounod’s “Romeo et Juliette,” with Madame Eames and M. Saleza in the title-roles, and M. Mancinelli as conductor. Among the works announced are Stanford’s “Much Ado About Nothing.” Verdi’s “Aida” and “Rigoletto,” Humperdinck’s “Hansel and Gretel,” Wagner’s “Tristan and Isolde’’ and “Tannhauser,” Mascagnis “Cavalleria Rusticaha,” and Gounod’s “Faust.” Italian operas will be represented by “Otello” (besides the two Verdi operas already mentioned), “La Boheme,” “La Tosca” “Messalina,” "Lucia,” “II Barbiere,” and “Mefistofele.’’ The list of artists engaged for the season includes : —Sopranos; Mesdames Suzanne Adams, Bauermeister, Luoienne Breval, Calve, Emma Eames, Gadsky, Sobrino, Strakosch, Ternina.’ Contraltos : Mesdames Aldridge, Mario Brema, Georgina Delmar, Maulbourg, Olitzka. Tenors: M.M. Ansqlmi, John Coates, Van Dyck, Forgeur, Knote, Masiero, Mercier, Reiss, Saleza, &imon, Tamagno. Basses and baritones: M.M. David Bispham, Blass, Declery, Dufriche, Hamilton, Earle, Ivor Foster, Gilibert, Isnardon, Journet, Klopfer, Pol Plancon, Van Rooy, Scotti. Conductors; M. Flon, Herr Losohe, Signor Mancinelli. * *****

Mr J. C. 'Williamson’s season of grand Italian opera opened in Melbourne on June Ist at Her Majesty’s Theatre. The theatre is one of the largest in Australia, but it was not nearly large enough ,to accommodate all who sought admission, "and the performance of “Aida” throughout is described as brilliantly successful. Time after time the curtain had to be raised in acknowledgement of enthusiastic cheering, and at the close of the performance, which was not over till half-past eleven, the audience indulged in a demonstration which was remarkable for its warmth and unanimity. The part of Aidawa# taken by the prima donna, Signora Lina De Bendetto. Signora' Marconieni appeared as Princess Amends, Commendatore Larizcia as Radames, Signor Cat. tadoir as Amonasio, and Signor Travaglina as Ramphis. Signor Hazon was applauded when taking his seat at the conductor’s desk, and was called before the curtain with the chief artists at the close of the second act.

Throughout Austria the general run of singers and actresses are so poorly, paid that they have been making public wail that they cannot. possibly provide the luxurious costumes which- theatre directors now invariably demand. According to the London correspondent of the “Australasian,” Madame Frances Saville has placed herself at the head of a hand of influential artistes who purpose relieving their less fortunate sisters „ by securing for them the discarded dresses and toilette requisites of wealthy private ladies. The Austrian Stage Association has resolved to open depots for the reception of such toilettes.