Music and Drama.

New Zealand Graphic, Volume XXVIII, Issue XXI, 24 May 1902, Page 1034

Music and Drama.

Paul Cinquevalli, truly called the •‘incomparable,” commenced his Auckland season on Friday evening before a mammoth audience, and both on Saturday, Monday and Tuesday vast and spell-bound crowds breathlessly watched the superhuman feats of this veritable marvel. No possible description can do justice to the performances of so great a master in the art of juggling as Cinquevalli. Seeing is usually supposed to be believing, but with Cinquevalli one begins to doubt the evidences of one’s own senses. It seems impossible, against reason, that a man should be able to do such things. Every law of gravity and equilibrium is set aside, and with an ease and complacency almost incredible. Just when you are sure that a mistake has been made, that “vaunting ambition has o’erleapt itself,” hey—presto, Cihquevalli befools you by turning the trick into one far more difficult than you had imagined. The most difficult tricks are those which look the most easy. For example, Cinquevalli takes a cannon ball (full size), a small scrap of paper rolled into a pellet, and a quart champagne bottle, and keeps the three circulating this way, that way, every way from one hand to the otjier. Conceive of the delicacy of touch, and the knowledge of “strength,” first to toss a paper ball —weight perhaps one-sixteenth of an ounce—into the air, then a bottle of Say a couple of pounds weight, and then the cannon ball, say 40 or 501bs, and to keep these constantly going. This impresses the writer as far more amazing than many of the more striking items. But all that Cinquevalli does is wonderful. It is as impossible to compare his feats —some stupid people call them tricks—as it is to adequately describe them. But .wherever he goes in New Zealand let us advise all who have a taste for the marvellous not to miss seeing him. Such an artist seldom visits the colony, and when one does the opportunity is not one to be missed. But Cinquevalli is not alone; Madame Titus is another sterling artist in Mr Rickards’ variety company. For refined humour of the highest type, for genuine, pure, clean fun, and clear artistic merit, the writer does not remember any music hall “turn,” either here or in the Old Country, to approach that of Madame Titus. This is high praise, but it is well deserved. Madame Titus, who has a fine soprano voice, which would be worth listening to in ballads, quite apart from her impersonations, mimics the various types of ballad singers, etc., one comes across in the drawing-room and on the concert platform. All are wonderfully clever, but the imitation of a child singing a song for the first time is assuredly remarkably so. Madame Titus does not caricature a child, she becomes one for the time being, and her infantile enunciation and her babyish style are exceedingly well thought out; there is not a feature that is overdone, so the vraieemblance is far greater than ig usual in such imitations.

It would be unjust, tbo, not to give a special line to both Mr Charles Colby, one of the best ventriloquists who have visited us, and Professor Charles jVrtgley, who, as a clarionette player and saxophonist, arouses well-merited applause. The Company as a whole is

certainly an exceedingly strong one, and should do big business all over the colony.

Musical Auckland has been greatly rejoiced over the return of Mdlle. Dolores to the Northern City, for her former visits to Auckland made for her hosts of admirers. Unfortunately most inclement weather interfered with the entire success of her first concert on Friday last., hundreds being kept away by the rain. T’-ose who braved the elemenis, however, were richly rewarded by a concert of exceptional merit. The songstress retains all her old charm of manner and freshness of voice, and before she had finished her first number, “I Attempt From Love’s Sickness to Fly,” her audience was fairly captivated. The variety of her songs astonishes no less than the artistic expression she imparts into every note. Within the compass of an hour and a half she gave’more than a dozen different selections, culled from the music of half a dozen periods, and almost as many countries. Prominent among her contributions may be mentioned Du ver noy’s* scena “O Desse,” and “Vous Qui Me Fuyez,” “Miti au Village.” “Danza Fanciulla,” “Pur Divisti.” Blumenthal’s “Serenade,” Kjerulf’s “Oh, to Remember,” “Away, Away,” “Cornin’ Through the Rye,” “Tarantelle” (Bizet), “Chanson” (Thorne), “Ombra Leggiera,” and “Love Has Eyes.” The next to the last item was certainly the favourite of the evening, as it unquestionably gave the singer an opportunity to display her powers in a very striking way. Mr. Clarence Newell played the accompaniments, and also gave several piano solos in finished style.

Mdlle. Dolores’ second concert, on Monday was much better patronised than the first, the sole reason being the improvement in the weather, which kept a great many music lovers absent on the occasion of her first appearance. The Choral Hall was filled in almost every part, and the audience was certainly one of the most enthusiastic on record. And the gifted singer most richly repaid the appreciation which her lovely voice elicited, singing, eighteen different songs. It is rare indeed that artists with a European reputation treat us so liberally. We are accustomed to a programme in which the star appears twice or thrice, and the remaining items are by much lesser lights, but Mdlle. Dolores provides almost the entire feast herself. It' is in every sense her concert. One might wax enthusiastic about almost every one of the pieces she contributed, so excellently chosen is her collection and so well does her marvellous voice lend itself to music, grave or gay, light or heavy. Mr Clarence Newell presided at the piano and again proved himself a brilliant performer and accompanist. Mdlle. Dolores gives her third and last recital to-night (Wednesday) in the Choral Hall, and the occasion of hearing her for the last time is one no music lover should miss.

Wirth’s Circus, which are to winter in Auckland, commenced their seatson on Saturday evening last before an audience of two or three thousand persons. The programme now submitted is of a first-class description, and met with hearty applause. The famous tiger act elicited storms of applause. The Wirths were very anxious to get a permanent building at the foot of Grey-street, and permission for this was granted by the Council, only, however, to be rescinded later for some strange reason.

Dean Fitchett, writing in the “Southern Cross” on the huge sum of £5OOO paid to immature Amy Castles, observes with gentle bitterness:— “Had Miss Castles been an apostle with a new. message, a statesman with a new political theory, a scientist with a new discovery, would the crowdshave paid as much for the privilege of hearing her? Miss Castles is, of course,

only a girl with an immature voice and au unfinished musical education. It is clear that for money-making purposes the vocal chords of a singer are more effective than the brain of a sage, the learning of a scholar, or the tongue of a poet. The great sums paid to a popular singer suggest one somewhat painful comparison. The cost of the Simultaneous Mission now in progress is, roughly, £2500 —less than one-half the sum Miss Castles earns for a couple of dozen songs. Now, in the Simultaneous Mission no less than 214 churches are joined. There are 50 missloners, 700 committee men, and 2000 personal workers, whilst 50,000 people have been attending the mission services every night. And yet the modest £2500 which represents the money cost of this great enterprise is at least £ 1000 short.” The writer winds up by asking the following pertinent question: “If eight Australian audiences —not one of which equalled in scale the crowd at the mid-day mission services in the Melbourne Town Hall can give nearly £6OOO for the pleasure of hearing a few songs, eannot the 214 churches associated with the Simultaneous Mission give half that sum?”

Variety business does' not pay in Dunedin, and has been relinquished in favour of melodrama, which seems to hit the Dunedinite where they live, as Yankees put it. “Pasquin” writes: “The house, which had during several weeks past suffered from neglect of the public, was on this melodramatic occasion packed to the outer doors by a suffocating mass of humanity, who had struggled and fought for floor and breathing space quite 50 minutes before the curtain rose on the first act. It was an audience which the cosy little Alhambra had been a stranger to for many a day—in fact, many of those present had never been insidg the theatre since Variety took up its residence within; and many, again, were there for the first time in their lives. This to show that at 1/ and 6d a very great proportion of the Dunedin public like their amusement painted with a big red brush. ‘British Pluck,’ as performed by the Dix-Marschel Dramatic Company on Saturday night, assisted by scenic artist Clint, supplied the big audience with sensation and scenery sufficiently lurid to warrant their efforts being successful for several nights to come.

A purely baek-bloek dramatic company, at present in South Island of New Zealand, has, says the Otago weekly, a novel way of evading printers’ bills. The touring agent advances on a country town where theatrical playbills remain on the cowsheds and fences from year end to year’s end. As the town on which he works his dodge has only one hall, the bills of more financial touring companies are pasted up in large numbers everywhere with the name of the hall in large black type at the head, and the prices of admission in proportional large type below. Out of a bag he takes the “bills” of his own company, said “bills” consisting of scraps of paper of all colours and sizes, on which is “written” the name of the company, the melodrama to be produced, and a long cast of characters. These home-made bills are trimmed to required size and pasted between “Public Hall” and “4/, 2/6, and 1/” on the many playbills scattered over the country town!

It is proposed to start a Glee and Madrigal Society in connection with the Auckland University College, for the purpose of studying and performing pure vocal music, and Professor Thomas will be glad to receive, as soon as possible, the names of students who are willing to assist in forming the society. Members will be admitted on the Professor of Music satisfying himself that they have useful voices, and are able to sing music at sight. The want of such a society has beFn felt in Auckland for many years, not only by those who by musical ability and training are specially qualified, but by others having good voices, who have not hitherto had opportunities of attempting music of this description. A fine room in the University building has been placed at the disposal of the society, which it is hoped will become one of our most valuable and popular musical institutions.

Dr. Villiers Stanford has been giving his views on the question of an English Opera House, in connection with Lord Dysart’s offer of £lO,OOO, to a “ Westminster ” interviewer. Professor Stanford was very emphatic on the cost of the proposed building. “ Five hundred thousand pounds is a ridiculously large sum,” he said; “ £250,000, or at most £300,000, would be quite sufficient for the purpose. What is wanted is not a house with marble foyers, but a house with a first-rate stage and very comfortable seating arrangements. The Deutscher Theatre at Prague is the sort of thing we want. It stands by itself and,is exceedingly pretty. It cost only £ 100.000. and I do not think that such a theatre would cost in England more than £150,000; £50,000 more would keep it going at the rate of £lO.OOO a year for five years. Tam calculating this on the basis of the Opera House at Brussels, where they get a subvention of £lO.000 a year, and do not spend it all. If the Countv Council gave us a si+4, as they intimated they were nrenared to do when we anproached them four years ago, that would mean a material reduction in the cost.”

Patti laughs at the memory of her first appearance as Lucia in London. Being anxious to dress the part correctly, she studied her Walter Scott, and found that in the earlier scenes Lucia is described as wearing a scarlet cloak. So she discarded the traditional pearl-grey silk and tartan §oarf, and appeared in the garb of the original bride The Londoners couldn’t recognise Lucia in the scarIt cloak, and showed they couldn't “I do believe,” says Patti, “they thought I was making game of them, and was going to play Little Red Riding Hood.”

Mr Henry Arthur Jones has completed a comedy of intrigue called “The Princess’ Nose,” which will be produced at the Duke of York Theatre in about a month. The whole action takes place in thirty-six hours, and there are twenty speaking parts in the piece. Captain Basil Hood and Mr Edward German’s forthcoming opera at the Savoy Theatre will be entitled “Merrie England,” the period chosen being that of “Good Queen Bess.” .