DRAMATIC AND MUSICAL.

New Zealand Graphic, Volume IX, Issue 24, 11 June 1892, Page 585

DRAMATIC AND MUSICAL.

II" is distinctly gratifying to notice that the great artists of the musical and dramatic world have at length

realised that Australia and New Zealand are yearly becoming more worthy of their notice. America has long proved a Tom Tiddler’s ground to actors, singers, and musicians, but until recently Australia was left severely alone. Then one or two * falling stars ’ experimented and discovered a very important fact. They found that the Australasian peoples were possessed of an excellent and, be it said, a critical taste. They found that Victorians, Cornstalks, and Maorilanders knew what good singing, good acting, and good playing ought to be ; found that the colonials would come once for the artist’s name sake and for the reputation of years, but that unless that reputation was justified, they would stop away ; but that if it were justified, there were uo such enthusiastic audiences in the world. The result of this was that they went home and published the news abroad that for firstclass talent there was a big reception and plenty of money. Sara Bernhardt came on this recommendation, and now Ovide Musin, one of the world’s greatest violinists, is about to pay New Zealand a flying visit on the way to Australia.

Musin, like the divine Sara, comes in the zenith of his power and fame. He is a masterful performer, more brilliant and vigorous then Sarasate, and critics have vied in paying tribute to his extraordinary talents.

Violinists stand upon royal ground with their simple instrument; and there is a trio of musical artists, Joachim, Wilhelmj, and Sarasate the Spaniard, who are glad to form a quartette with Musin as the fourth member. Each has in him bis national and ancestral traits. Musin has a bril-

liancy, an airiness and a glitter that are peculiarly his own. He is more than a virtuoso—he is a genius of a very high order. Other players astonish by their mastery of the technique of the instrument; Musin makes one forget that there are any mechanical difficulties to overcome. The instrument in his hands is completely subdued to his will, the soul of music is shed about the hall or theatre, its spell falling upon every listener, and the traditions of Paganini—one is tempted to say, of Orpheus himself—are vividly recalled.

Musin is a man of medium height, with full, ruddy face, noticeably large eyes, and hair and beard slightly tinged with grey. His physique is that of an athlete, one that time itself would seem almost powerless to weaken. He is one of the most delightful comrades, ever buoyant of expectation, and happy in the present. This personal intensity enters into his playing, and Musin with the violin upon his shoulder is another person than Musin separated from the instrument which seems to inspire him. Like most great musicians, his talent manifested itself at an early age. He won the first prize at the Conservatoire at Liege when only eleven years of age. Meanwhile, his father endeavoured to persuade

him to abandon music as a profession, but this was impossible. The boy rapidly developed a musical talent which is only born of genius. In 1870, Leonard, the celebrated violin player and composer, having heard Musin, was so well pleased with him that he tried, and succeeded, in persuading his parents to let him choose the career of an artist, and from that time to the present his progress has been a succession of triumphs and ovations both on the Continent of Europe and in America.’

Musin brings with him a very well-known American songstress —Annie Louise Tanner. This priina donna lias had and is having a notable career. As a wee child she composed and sang with her sister two-part songs, which greatly

astonished and pleased her elders. During her early vocal studies, her first teacher was James Nuno, of New York. She sang contralto, and frequently recited thiilling poems. L'pon this it was predicted that she would become a dramatic contralto. With use the voice was found to have a rich mezzo quality. Then she sang pure soprano, and her reputation rests upon the possession ot a florid soprano with phenomenal range. It is now in her power to sing with full volume any song written for the female voice, from the highest to the lowest. Because there is the greatest demand for the florid style of work, and because the greatest skill is required in producing such tones, she confines herself to that voice in public singing.

In appearance this artist is pleasing to the eye, as well as to the ear. Of medium height, graceful carriage, her skin a clear olive, her eyes brown, her hair black and curly, she

makes a picture which attracts an audience before she sings

a note. She is called the American Nightingale Soprano. She has created a jurore with her phenomenal range and wonderful execution. Miss Tanner has a compass of three full octaves, ranging from G below the staff to G above high C, which one and all pronounce marvellously sweet in tone.

Eduard Schare, who comes with Musin, is a pianist of note. A son of the well-known German botanist whose name he bears, it was the desire of his relations and friends that Eduard Scharf should become a man of letters. Fate, however, willed otherwise, and the boy went to the Leipzig Conservatoire of Music, where he soon greatly distinguished himself. Herr Von Bulow took him up, and mainly through his influence Scharf played at the Imperial Court. His recitals attracted attention all over Germany, and his tours were extraordinarily successful. Musin met the pianist in Bayreuth, and persuaded him to join him in his American co. cert tour. Mr Scharf is a brilliant special correspondent for several German and American dailies, and would doubtless have shone in letters had not music claimed him for her own.

It is easy to understand how bad business is in London when such well known people as Florence St. John and Jessie Bond are adveitising for engagementss and three such Gaiety favourites as Alma Stanley, Florence Levy and Lilian Price appeared last week in concert hall lists at the Pavilion. All three failed ignominiously. Alma Stanley fell flat on the stage when she attempted to dance. Her skirts were too tight for her.

Gottlieb Sauhir, an Australian journalist, was at the theatre one evening. He was greatly annoyed by a gentleman behind him, who leaned forward and gave the journalist a great deal too much of his presence. Saphir quietly drew out his handkeichief and calmly used it on the intruder’s nose. Then turning around he bowed to his irate neighbour and said : • I beg your pardon ; I thought it was mine.’

Theatre going in London is double the cost of the amusement in the Australasian colonies. People at Home are ‘ bilked,’ as the word is, at every turn. There are cloak-room fees and tips to ushers and charges for programmes at most of the playhouses. Mr Irving, some years ago, led the way by abolishing these impositions at the Lyceum. Only a few managers followed his example. It was not so long ago that one had to pay a ‘ booking-fee,’ that is to say, a premium of sixpence or a shilling for purchasing a ticket at the box office.

The Auckland Orchestral Union concert takes place on Friday, and promises to be the success of the season. The programme is the finest that has been submitted to an Auckland audience for a very long while. Mr Towsey will, of course, conduct.