THEATRICAL & MUSICAL NOTES.

Otago Witness, Issue 1894, 22 May 1890, Page 32

THEATRICAL & MUSICAL NOTES.

Contributions from the Profession chronicling their movements and doings arc invited. All coramunlaatiou'j to bo addressed to " Pisquin," Otago Witness Office. Many readers will ba interested to hear that Signor Oarmini Motley is still in the colony, hia present place of residence being Napier. He has blossomed into an author, and an opera of his own composition entitled " The Mock Baron," waa placed on the boards the other night, the signor taking the title role, and the other parts being filled by amateurs, Mr George Alexander, manager of the Avenue Theatre, London, recently received (says an exchange) an application that certainly ia a model of terseneaa. It ran thus :— " Honoured sir, my name is Alexander, lam a bill-poster in X . Your name is Alexander. Make me a bill-poster in London." How could the youngest of managers send any th> ng other than a favourable reply ? One of tbo musical events of the first weok in February was the retirement of Miss Huntington from the Prince of Wales Theatre, on the ground that tbe part assigned to her in "Marjorie" not only did not suit her voice, but tried it in such a manner that it was impossible for her, without injury, to go on sing ing it. The part was originally written for a tenor, but the singing and acting of Miss Huntington being the great — the supreme — attraction at the Prince of Wales', it waa necessary, if " Marjorie " waa to be given at that theatre, to alter the tenor part — the part of the sympathetio and successful lover — so as to suit Miss Huntington's contralto voice. There are plenty of Italian operas in whioh baritone parts have been sung by contraltos, but none in which a contralto has sung a part written for a tenor. After singing the music of her part for several nights, Miss Huntingdon found it bo trying that she resolved to throw it up, and with it a yery lucrative engagement ; for her salary, which began a year ago at £60 a waek, was to rise by annual increments of £20 a week, until the year after next she would have racsived £120. Of late years very few operatic composers have written for the contralto voice. In all Verdi's operas there is only one im portant contralto part, that of Azucena, in "TVovatore;" though, as it is an article of faith with this composer that a gipsy must always have a contralto voico, he has introduced small contralto parts for the gipsy for-tune-teller in " Un Ballo in Maschora " and for the gipsy waitress in "Rigolatto." Toole made a funny speech at one of his end-off banquets. Ha said :—": — " He liked acting, and meant to go on acting, though many inducements had been held out to him to leave the stage. A dresser in the Liverpool theatre had once told him he could do much bettor. ' You're wonderful popular in th6Ee parts, sir,' he said; 'wonderful popular. If you war to give up tha piofession and settle down hare in a little " pub," you'd do well ' " A great Binger, as well aa an actor or actress, ia worth juat what she or he will bring. If fiha commands public attention and brings £1500 or £1600 anight, she is always worth £1000 ; while if sho ia only the side-light to a big play, ehe may not be worth £10. That pleaßant young actress, Miss Florence Wood, is engaged to be married to Mr Ralph Lumley, the succasßful author of " Aunt Jack." All arrangements for the Passion Play at Ober-Ammergau have now been settled. The chief rehearsal will be on the 18th of May, and the first performance of the play on the 26th of that month. Further performances wi)l be given in Juno, July, August and September, Great improvements have been made with regard to scenery and bo forth, and the stage has been made 24ft broader than it was in 1880, There are also a larger number of boxes and sheltered seats than on former occasions, and as a reserved seat ia to cost 53 only, thore is every inducement for those who have not seen this remarkable play — which only takes place once in 10 yeara — to go and see it in 1890. At a recent entertainment given t > the in.mates of a lunatic afylum not far from Dundee, one of the items of the programme conoisted of a toy symphony played by aeveral influential local gentlemen upon toy instruments. After the symphony was over, a clergyman who had taken part in it asked one of tbe inmates ! " Well, John, how did you like the music ? " 11 Oh, weel, air," was the caustic reply, "it's a quid thing that we're a' daft here ! " Buffalo Bill deolarea that the Neapolitans opened his eyes. On the day of opening there at Naples he found, among his receipts, false bank-notes to the tune of two thousand and some hundred franca. The colonel made a complaint to the police authority, who, aftei a jnoat courteous reception, and the expression of hia profound sympathy, flung up his arms with an air of wonder, exclaiming, " Che gran popolo!" being less astonished at the rascality of the people than at their fertility in resources. Peterson, the oarsman, haa been engaged at San Francisco, to handle the character of George Hoßmer in the Grand Opera House production of a "A Dark Secret." The tank ia 84ft — the largest over seen on any stage, and it ia the intention of the management to put on this realistic drama without regard to exponso. Among the novelties will be a tub and swimming race. In re private theatricals, the following is from a lady'a letter :— " Of course, dear, no one would be the • messenger ' (what amateur ovor would ?), so at last we hnd to impress oncjof tho butlers into the eervico ; but the stupid thing, instead of rushing on and shouting, ' My lord, Jeanne d'Arc has been executed, with fire and stake, in the market place at Kouen 1 ' he walked on just as if he were announcing luncheon, and drawled out, ' M'lud, Johnnie Dark 'as bin hexocuted frying steak in the market place in ruins.' " "The glorious inwardness of the operatic profession : Tamango the tenor, who earns 2000 Jol a night, is accompanied on his tour by a brother who sings in the chorus for 17dol a week. Ib is said that the brothers do not travel or live together, or have anything in common— save blood." Our friend of tbe New York Dramatic Mirror is mistaken. Thera is a great deal in common between the two brothers. The brother in the chorus acts in the capacity of cook to the great tenor. He it is who kills the rabbits and the chickens, and then cooks them in the Pullman car for Tamango. If this is not an evidence of brotherly love, for heaven's sake what is !—! — San Francisco Now? Letter, According to the German papers, an extraordinary dispute between ft Hamburg operatic imjn-esario and a critic has jußt been Bottled. It is said that one ot the critics was excluded from the theatre for pome journalistic reason, and an action was brought to contest tbe question, The Tribunal haa decided that the exclusion of anybody from a public theatre in Gerroaay is on arbitrary and illegal act, and judgment has accordingly been given in favour of the musical critic. What is American polish ? The New York Press states that the Kendals have taken it on, and consequently are more fascinating than ever. If the article can be exported our aotora and aotresses should (aaya an English paper) at once order & supply. Some ' business was introduced wo a

rendering of " Hamlet " given at the Globe in March last. The body of the drowned Ophelia was borne in at the close of the fourth act, a departure which, as a critic rematks, "has no warrant, and merely delays tha fall of the curtain without any visible gaiabsing attained." " Oa tha other band," it is conceded, " a novel and legitimate eff 9ct is secured when Hamlet, in his mother's presence, seizes the portrait of the King, dashes it to the ground, and tramples it underfoot." A somewhat promising singer made her debut recently at a concert in Bristol — Miss MillOoltnan. This lady is a niece of John Stuart Mill, and has received her artistic training in Italy. Hor voice is of great sweetness and of considerable compass, and should shortly be heard on the London conoert platform, A gentleman who was Dr Joachim's hoat on one occasion, tells that his little boy was interested in hearing the violin, but did not appreciate or approve of the selection of classical music chosen ; so, one day, my friend coming into the room when hia guest was supposed to be trying some musical compositions, found his hopeful little son of six years old seated on a stool in front of the '.octor, whistling "TheDoath of Nelson," very carefully and slowly. " I asked him to play it for me on his Eddie," explained the lad, " but he said he didn't know it, and I am whistling it to him ;" and, sure enough, thera was tha great artist intent on making out the air oa his violin to please the boy, who was, of oourae, delighted. Tho Now Yorkers have lately seen a specimen of versatility in an actress which we should find it not easy to match Miss Marie Prascott opened a brief engagement at tho Windsor Theatre by taking the part of lago in "OtheJlo," Then she essayed Rosalind in "As You Like It"; Partbenia in " Ingomar " ; Lady Anno in "Richard the Third" ; and finally Galatea in "Pygmalion and Galatea." The artistic value of such a departure from stage tradition as a female lago is not easily conceded, Misa Dorothy Dene, the young aotress whose I I remarkable beauty and, as was thought, no losb remarkable promise obtained for her n j year or two ago a vary enviable placo both in dramatio and social circles, is rather severely dealt with in St. James' with regard to her j recant impersonation in the new historical play ; at the Oomaly, "Tha Favourite of the King." i In Helen Aston, the woman abandoned by J Villieta, Mis? Dorothy Dane, says the critio, found her part wholly boyond her means. Hor passion is the passion of tha schoolroom ; and, like her pathos, leaves tbo audience unmoved. At one tiino Miss Dsne gave promise that Bhe migbt yet ripsn into an rctress of merit; ; but experience appaara to have dono nothing for hor, and her art remains crude and immature. There were (says a Home paper of a recent date) only two musical events worth talking about last week. That wonderfully gifted youcg pianis 1 ; Stsvenhagen, or "starve and hang him " as he is familiarly termed, appaarad at the " Pop " on Monday, and sent a crowded audience into a frenzy of dolight by hi* marvellously light and airy performance of Schumann's "PapilJonß." He ia certainly one of the grandest pianists of the age. It is very rare, indeed, that an actress colebrateß her 75th year of consecutive service on the Btage of the same theatre. This eventperhaps unique in dramatio annals— haa just oo curred at Stuttgart, where Frau Louise Schmidt, of the Royal Theatre, has now cam pleted her three quarters of a cantury of uninterrupted engagements with that house. She made her debut in 1814, being then nine years old, Mr White, the ex-Emperor of Brazil's violinist, is making a snnaatiou in London. Whita is a negro, about 40 years of age, and of superb presence. He hat, according to an ex cellent critic, a beautiful bow arm, fine large tone, a great deal of sentiment, and tremendous exeoution. The veteran operatic contralto Madame Demeric Lablache, who dunng almost the whole of Mr Mapleson's career was one of hie principal contraltos, and iB one of the mopt experienced operatic artist? now before the public, is about finally to quit th ■ stage, and propcß9B to settle down as a teacher of singing in Liverpool, where she has many friends. The copyrights o£ "The Bohemian Girl" and " Mariana " have expired and tho operas can be performed by anybody without fee. In the case of " Maritana," however, copyright is still claimed for the Bong "In happy moments," which was added to the opera some time after its original production. Atavery'smart musioal "At Home" held by the Duchess of Mecklenburgh-Schwerin at Cannes recently the principal vocalist, Madame Minnie Hauk, sang in no less than five languages— viz., French, English, German, Italian, and Ruasian. " Do Fabricksbaas " is the euphonious title of " The Middleman " in Dutch, and the actor who impsrsonates Cyrus Blenkarn rejoices in the name of Bouwmoester. Mr JonoB 1 play is a striking success at Amsterdam. Mr David Laurie, of Glasgow, haß refused 10,000dol for the famous " Alard " Stradivarius violin ; but 12,500d0l have now been offered on behilf of an American, and the matter is undor consideration. The " Alard " formerly belonged to J. B. Vuillaume, the export, who gave it to his son-in law, M. Delphin Alard, violin professor at the Paris Oonservatoiro, who sold it to Mr Laurie, It is dated 1715, and tho only alteration since made ib a Blight Jengthoning of the neck. I confeis to having been agreeably surprised (pttyH a writor in a London paper) at the strikingly good points in Mrs Langtry's Rosalind, and in tho groat improvement made by the actress nince, a few years ago, she shook the dnist of Old England off the soles of her feet. She is no longer youthful in appearance, and tiacea of bur roennt illness are observable, but Bhe has ripened aa an artist, and bnr conception of Sbakcfpoaro's delightful horoine is, on the whole, tho most satisfying I have witnessed since poor Miaß Litton's 10 years ago. Its Ri'oafcsst merit consists in its naturalness. Mrs Inngtry is always at her ease, and never betrays the fact that she is acting a part. The Rlighfc suggestion of melancholy in the first act is admirably in keeping with the idea ot a highspirited girl who feels the falseness of her position at tha court of her usurping uncle. Ooca having donned her doublet and hose, and made the discovery that her lover reciprocates her passion, she abandons herself like a chid to tbe joy of the moment. Sho josta with Orlando so artlessly that but for her face be migbt bo excused for not discovering her identity. There might be a little more seriousnecs of manner where Bbc reproves Phoebe for not bniug grateful for "s good man's lovo," for Rcsalind is obviously in earnest. Mrs Langtry delivers tba epilogus with delightful earnestness, but ehe does not look well in the plain white gown and leopard's skin. Of course, tho rich bridal costume in which aotroaaas usually appear in the last scene is absurd, but then tbe whole play is fantastic, and to endeavour to impart an air of realism to it, aa was done when it wai revived by Messrs Hare and Kendal, is to do violence to what ia essentially a fairy story, though there are no supernatural personages. It seldcm happens (sajß St. James') that auob good results prooeed from an interview

with a musical executant aa have been obtained by an American journalist, writing in tho New York Musical Courier, from a visit to Sarasate. One of the brilliant violinist's most ingenious remarks was on the subject of Wagneriem in France and in Germany. "The German composers," he said, " are uot Wagnerians, while the French are rabid WagneriaDe. Brahms, Reinecke, Goldmark, and, I may add, Gade and Rubinstein— both educated in Germany, though one, of course, is a Dane, the other a Russian — are anti Wagnerian ; whereas Saint- Saens, Lalo, Delibes, and Reyer I are crazy wild Wagnerians." These faclß were I already known, though tbor had never before ; been presented in juxtaposition. It will bo news, however, to raoafc musicians and amateurs to hear that among tha French Wagnerians Lococq, the composer of "Madame Angofc," ia the most devoted of all. " When he finds that the Trilogy is to ( be given at Brussels he is off fco Brussels ; when it is given at Munich he goes to Munioh ; and when it ia announced at Vienna he rushes off to Vienna, quite crazy about it." Lecocq began bia musical career aB an organist; and it was only after much solemn study that, like at least half a dozen other organists who could be mentioned, he suddenly, by way of reaction, threw himself into the frivolous, inconsequential stylo of ope'ra-boujfe. In bis old age be is reverting to serious music; and it is no secret that bo has composed an opera in a very grave style indeed, which he has hitherto been unable to get produced. Even Offenbach, who began by imitating Meyerbeer . , . mi(?ht have ended, had he lived, by beooming a Wagnerile. The German composers of opera bouffe, Suppe" and Stiauss, have shown no tendeuoy iv that direction. The following announcement was sent to the New York Times : "A now Passion P-ay will be produced in New York on or about Easter Monday, entitled 'The Young Messiah, 1 by Ardennes Foster, author of ' Broken Barriers,' The character of tha Christ will ba assumed by Miss Jeannie Winston, an opera favourite, and well known by her recent success in the brigand r6le of Fra Diavolo. • The Young Messiah, 1 which contains considerable music, is divided into three acts and half a dozen tableaux, depicting tho purely idealistic and poetical side of the Saviour's life. Active undercurrents of love and sedition run throughout the play, lending tho rays of human interest ; while the feature which has hitherto met with advorse critioism, namely, the Cruci fixion, will be pourtrayad by a vision, and the whole production made frea from any suggestion that otherwise might offond. Miss Winston will represent the Messiah as a beardless youth, and, acoording to aomo of the early paintings, with a face that novgr grows old, but wears the light of immortal beauty." This was too much even for an American journal, and tho Times protests against the idea of the performance, and invites the police to interfere. But it seems to be chiefly shocked became it is proposed that the Divine Being should be represented by a burlesque actress "well known by her recant sucoess in the brigand r6!o of of Fra Diavolo." Britons generally will regard tha " now Passion Play " as little better than blasphemy from first to last. Signor Francesco Tamango, the famous tenor, now singing in San Francisco with Patti, Albani, Nordica, and others, for the Grand Italian Opara?Oompany, is described by the San Francisco Chronicle as a tall, powerfully-built man, who looks more like the typioal Norseman than a person born under sunny Italian skies. His hair is thick and brown, while his beard and moustache, the former trimmed to a point, are a light, sandy brown. His face is that of a very intelligent man, and at tbe same time suggests much good nature. His voice is full and sonorous, and his laugh is aa hearty as his manner ia pleasant. Soarcely had a word been spoken whan he made the astonishing statement that ho is going to retire from the stage. Asked why, his reply waa : " Too many sacrifices. I cannot smoke ; lam fond of it. I cannot drink, and lam fond of good wine, I cannot go out in any kind of weather, and I am fond of the open air. ' In the northern latitudes Tamagno ia more of a stranger than in the southern countries. Ho sang in London, as he himself said, for the first time la«t July; but he has for years sung in Madrid, Lisbon, Milan, and Buenoa Ayrea. The northern countries are too trying for him, and necessitate some of the sacrifices of which he spoke, Of all oities he has yet sung in, Chicago he found th j most trying ; as he had to go continually muffled up. He anxiously inquired about San Francisco's climate before ho carao, and whether he would be able to go out much ; and then turning to the sunshine which streamed in at tbe window, ho exclaimed : " Ah, that is what a singer wants. We are like tha birds, we cannot sing at all times, we must have sunshine." He is in love with Verdi'a " Otello," and says it ia the greatest opera that ever was written. The "Queen's Shilling" is as dainty a little comody as has been seen on the stage, and the actingof Mr and Mrs Kendal ia well surrounded by the acting of the Company, The idea is simple, the arrangements most skilful. The man enlists ; 'ho lady of the Grange goes on a little bit of masquerade as a milkmaid Thoy meet, and in those relations get smitten with each other. The young man's friend comes along to try and get him to leave the ranks and return to his proper sphere. He invites him to the Grange, where thare is a ball, Tha young man is arrested for not being present on parade. He escapes and goes to tbe ball ; meetß the colonel, who is trying to marry the young lady. Thay quarrel, and under pretence of a trial of arms, whioh ia really a kind of duel, the colonel wounds the privnte. The true atate of the case as regards the young lady and the young man oomeß out, but not to I the colonel. Next morning Private Esmond I ia brought before the colonel, in order that he may decide about the discharge from tho army. He protends to be drunk. The colonel suspects that he is the man who fought with him. He seizes him by the wounded arm. The private boara it, but faints immediately after, and is taken to the hospital. He escapes again and comes back to explain to the young lady, and has to be concealed because the colonel is coming. The whole affair is found out; but the colonel, finding he has only been pretending to be drunk, and feeling he has been wrong in the fighting affair, gives hia approval to the order from London for his discharge. With many little touches of fine, delicatn and natural comedy, this little Btory is told. Mr Kenrlal's acting is remarkably good, and especially the drunken scene and its sequel. Mrs Kendal plays with the same finisher* art we have seen, and although suffering from a visible cold, Bhe charmed her audience. " LITTLE LOBD FAUNTLEROY." The Princeßa Theatre was reopened on Friday evening by Me*srs Williamson, Garner, and Musgrove, when the first performance here of Mrs Frances Hodgson Burnett's dramatic version of her charming work " Little Lord Fauntleroy " wai given by a very strong company, the cist being the same as at the Princess Theatre, Melbourne, where the piece had an unusually long and successful run. There was, as was anticipated, a capital house. A very largo number of the seats in the dress cirole had been engaged, and pome time beforethe performance commenced, all the seats in this part ot tbe house, with Die exception of a few whioh owing to the construction or the

theatre are almost worthless, were occupied. The pit and stalls, too, were also full some time before the rising of the curUiu. Such au audience on the opening night showed that public expectation ran high regarding the drama and its manner of produafciou, and hi both respects all rea-onable anticipaMoils were fully realised. AH who have read any one ot Mrs Burnett's popular works will know that in form, and matter one of her brightest productions was not likely to be disappointing. A synopsis of the story would not be sufficiently interesting to do justice to it, and it Is prt ferable that people should go to see this play quite urip-e-ptired, or prepared by a perusal ot the work which his been so successfully recast for bne stage by Its authoress. In some respects "Little Lord Fauntleroy" resembles "Dora," a beautiful and pathetic little play which it will be remembered Mr Warner introduced hero, and whioh quite won tho heartti of all who saw it. Still, t.liero is nothing ia tho one play which oould be said to have suggested tho other. The subject— the dovelop'nent of the bettor nature of a man under the influence of pure child life and love is the same, but the treatment of it is altogether dissimilar. " Little Lord Famitleroy " is much less oad and more full of "heart's sunshine" than "Dora"; and is not only pathetic, without being sad, but it sparkles with fun and is aa mirth provoking as the most entertaining comedy. But so much has been said and written of the drama that we may well confine our remarks to its production last evening, to which, fortunately, it is po>Bible to refer In laudatory terms only Had such a piece been marred in the acting it would have been very much to be regretted, but, as a matter of fact, it was presented in oven' rfspeut in au extremely satisfactory manner. The company is a capable one, and every character in the play found an efficient repre>entative. The chief interest, of course, centred in the child actress (Miss Olive Berkley) as Little Lord Fauntleroy, and this child from first to last created a favourable and durable impression. The part is a very long one; the little lord haa a great deal to do, and iB almost constantly before tha audience, but the impersonation was throughout chnracterlsed by a buoyancy and fre»hlipss that delighted all spectators. Iv each scene Miss Berkley teemed better than in tho ptecodlnff one, and, with such a Little Lord FauQtleroy, the softening of the heart of the most obdurate old earl was as natural as it was gratifying. Mr Edwards' Earl of Dorincourt was an admirable piece of acting ; net tame, and by no means extravagant, but as effective as any presentation of the character could conceivably be. If this is a fair specimen of his acting, Mr lSdwards may well have become a great favourite with the Australian public. The part of Mrs *rrol, Lord Fauht'eroy's mother, was filled by Miss Bthel Winthrop, who made her first appearancH in New Zealand during the present tour. Miss Winf hrop is not ( only a pleasing but a powerful and talented actress, and she took full ftdvantapce of the excellent opportunity afforded brUiecharacter to show her capabilities. The unlovely Minna, an impostor, was impersonated by Miss Louise M. Berkley, and played most successfully. Although the character is a repulnive one, by iU delineation Misn Berkley obtained a favourable introduction as au actress To Miss Dooy Mainwarinp, who will be remembered as having played h^re before, a small but amusing part waa committed, and wrs well managed, Of the chiracters filled by gentlemen, tha one n*>xt in Importance to that of the Earl, was that of tho solicitor " Mr Havlsham," in the representation of which Mr W. H. Leake, an old favourite here, was thoroughly efficient. Dfck, the bootblack, wao capitally played by Master Harry Quealy, and the gnod-natured grocer Hobbs, a comedian's part, was satisfactorily filled by Mr George Leopold. The audience unmistakably testified their appreciation of the performance ; the applause rang out repeatedly and emphatically. At tho close of each act the actors were called before the curtain, and at, the second interval Mr Edwards and Miss Berkley were twice called and loudly cheered. The entertainment *eemed to olose much too soon, so well were all pleased with it, and for the success of the season, there nepd be no apprehension. I On Saturday night a change in the cast was made, the title role being assumed by Miss Gracie Hopkins in the place of Miss Olive Berkley. Such a clever representation of the oharacter of the little lord waa given by the latter young lady that many were interested to know how the former would acquit herself, and those who attended Saturday night's performance must have been agreeably surprised, Mljb Hopkins created quite as favourable an Impression as her young colleague, and her acting was characterised by the same naturalness, confidence, and fcntal freedom from constraint that were such marked features of Miss Berkley's acting.