MUSIC AND DRAMA.

New Zealand Graphic, Volume XXXVI, Issue 20, 19 May 1906, Page 19

MUSIC AND DRAMA.

' The Repertoire Company are fairly launched on their New Zealand tour by this time, and Mr J. C. Williamson has received most satisfactory reports regarding their three weeks’ season in Wellington, which lias just come to an end. The company are now touring the less important towns, and everywhere meeting with excellent support. j J* J® Mr Malone, who is Mr J. C. Williamson's London representative, has a daughter upon the musical comedy stage there. Judging by the full page portrait which the ’’Tattler” recently published, the young lady has a most attractive, personality, and we have it bn the authority of that paper that she “charmed apdienees at the Apollo Theatre with her delightfully fresh and naive rendering of Violet Brunton in “Mr Popple of Ippleton.’* 3® 3® The Christmas attraction contemplated for Melbourne by Mr. J. C. Williamson this year is a pautomine. which he intends shall eoiipse all previous efforts of his—even “Matsa"—in this direction, though nothing can, of course, be said yet as to its subject or its special attractions. It will no doubt be sent on an Australasian tour as soon as its course at Her Majesty’s Theatre, Melbourne. is complete. J® 3® Madame Sarah Bernhardt’s feud with the Theatrical Trust in America is unabated, and the determination of the famous actress to play under canvass remains fixed. It has been found that an ordinary circus tent was quite unsuitable for the purpose, and the Messrs Shubert, who are managing Madame Bernhardt's arrangements in America, have ordered a big tent, ISOft long and 1.30 ft wide, with a portable stage and a seating capacity for 4000 persons, for her tour in Mexico and California. : 3® J® “I have always held the opinion (says Mrs. Brown-Potter) that in stage representations truth cannot fail to please. One frequently hears the remark fall from the lips of an artist or a manager, ‘Oh. the public wants this,’ or ‘the public wants that.’ My own idea is that an actor or an actress should make a work of art a work of love, and then he or she will not go far wrong. It frequently happens that in trying to find out what playgoers do want, they are given what they don’t want. I am strongly inclined to the view that whole-heartedness in one’s work, whatever it be, brings success in its train.” -3® Patrons of the drama in the remoter States in America evidently take the duties of the censorship into their own hands. At Linton, Indiana, recently the leading lady of a Chicago company, in ■the course of the performance, spoke slightingly of the town, whereupon a number of the audience at the back of Hie house drew a revolver, and shot her tn the leg. inflicting a slight wound. The Assailant succeeded in making his escape. An Englishman has just staggered the four kingdoms by marrying bis mother-in-law. Nothing of that kind is on record in Australasia, though the fact

that the late George Coppin married his deceased wife's daughter is unique in its wav. J® 3® That peculiar conglomeration, the general public, seems to demand its pleasures year by year in a more simple form. Melodrama, with its primitive, well-worn lessons, will fill our theatres every time, and moving pictures—involving an irreducible minimum of brain fag—also spell success to the amusement caterer. lam moved to make these remarks (says the critic of a Christchurch contemporary) by the fact that on Tuesday night of last week I visited two shows. The one was where the great English baritone of modern times was singing to a miserable looking array of vacant seatx; at the other Mack’s pictures had drawn a crowd that filled the locdl theatre in every part. 3® MRS. SIMS REEVES: A FALSE _ REPORT. In May of last year a paragraph appeared in an Australian paper referring to Mrs. Sims Reeves, and to a report from Kalgoorlie that she had been “placed under restraint on a suspicion of her being insane.” The paragraph was copied in good faith into the “Graphic” without any knowledge whatever regarding the circumstances connected with its first publication. Mrs. Reeves is now in this colony, and we iearn that the statements contained in the paragraph . were absolutely without foundation, and that a retraction and an apology have appeared in the Australian paper from which we clipped the paragraph. We regret very much, therefore, that we inadvertently reprin’.ed such a false and injurious report. -3® 3® “1 have always been kind to the profession, and it will always be kind to me.” So said Dan Leno. Mrs Leno thinks, rightly enough, that it is a proof of the falsity of that belief on the part of her late husband that the many proposals for memorials in honour of her late husband should have fallen through. Alas, it is the age of gone to-day, forgotten tomorrow. Unfortunately for himself and family. Dan Isjno (like Sir H. Irving’s) generosity took the form of extravagance. Yet how potent to the recipients! An English writer has seen him give sovereigns away—as easy as most people give coppers—to those in want of a little help. His object can be described in his own words: he would durn away |rom the astonished recipient’s thanks (who expecting half-a-crown, would get two sovereigns), and, with tears in his eyes, mutter apologetically to a friend, “Poor devil! Thank God, I have given him at least a week's happiness; what was the good of less?” He never seemed to forget what gold would have done for him and his family in his own hard days. 3® 3® Concerning Mr Adolphe Borschke. the piano soloist, who is touring New Zealand with Baritone Black, a Christchurch critic thus enthuses: Pas-ing from Mr Black I come to one who. I consider, is the great artist of the company, and that is Mr Adolphe Borschke, the piano soloist. Beyond ail question this young artist is an inspired player. His technique is perfect, and his renderings divine. Mr Borschke has not the strength of a Paderewski, but he has quite sufficient power to impart an intense fervour into his more strenuous numbers. Mr Borschke is at his best in solos which depend for success more upon the delicate and refined interpretative instincts in a player than upon any other particular quality. The young master dreams as he plays. So profound are his renderings that one might almost imagine that the spirit of a dead master permeated the young musician's being and guided the magic fingers which swept the keyboard with such rapidity, •nd such accuracy.

Sir Frederick Bridge—fur whom general sympathy will be expressed ou account of the death of his wife—is engaged iu preparing a ’■Shakespearian Birthday Book of Musicians." The volume will contain a musical quotation from Shakespeare for every day in the year, together with birthdays of eminent British and foreign musicians. Whether in or out of music, the name of Shakespeare is always welcome. The poet had a wonderfully versatile mind and hundreds of commentators and thousands of commentaries have not exhausted the many topics which he has presented to posterity. The passages in his plays relating to music are specially numerous; and. as Sir Frederick Bridge has made them the subject of special study, we may be sure that his Birthday Book will have an equal interest for the musician and for the student of the bard. J* J* Interviewed iu Melbourne the other day Mr Wm. Anderson, the successful Australian theatrical manager, confessed that a strong, well written melodrama in a local setting, and with good situations, went better than anything else, and Australians’ were wonderfully partial to it. Such a work, said Mr Anderson, is very hard to get through. Until wo get Australian work—and some Australians seem to spend a lot of time writing the most wonderful stuff for us —we have to be content with English melodrama. The prices? Well, a really good melodrama would be worth anything from 200 guineas to 500 guineas. For the English stuff. I pay about £2OO. “The Mariners of England”—a most successful piece—was secured at the low figure of £ 100: while such works as ’’Human Nature,” “In the Ranks,” and “Youth," are worth £SOO. There has lx -n a falling off in the quality of Eng--111 melodrama of recent years, and nothing is produced nowadays like the writings of Petitt, Robert Buchanan, and Arthur Shirley of some years back. 3® J® The Wealth of the Dead.—Richard D.’Oyley Carte, aged 50, of the Savoy Theatre- left £240,817, probably the largest sum ever left by a public entertainer; David Belaseo (David James), aged 54. £41.594; Wilson Barrett, aged 57. £30,862; Lady Martin (Helen Faucit), aged 82, £27,977; Edwin Booth, aged 50, £24.000; Sir Augustus Harris, aged 44 £23,677; William James Lewin (William Tcrriss), aged 50, £18,257; Frederick Hobson (Fred Leslie), aged 37, £16,113; George Wild Galvin (Dan Leuo), aged 45, said to have earned £ 150 a week, and probably did earn for some time £ 100 a week; W. Campbell, 61. £4477; William Rignold. aged 68, £4196; Mme. Goldschmidt (Jenny Lind), aged 67. £40,630; Ernest Dinard (Ernesto Nicolini), aged 62, the famous operatic tenor singer. £40,550: Richard Corney Grain, aged 50, £18.950: Frederick Burgess, aged 67 (Moore and Burgess Minstrels), £10,394; Frederick Charles Hengler. aged 67, circus proprietor, £59,655; Frederick Ginnelt. aged 67. circus proprietor, £32.139; Frederick William Sanger, circus proprietor, £ 19,000. 3® 3* “ Not coming back to Australia?” said Mr. Julius Knight, with a smile, to an interviewer from the Adelaide ’’ Critic.” “Oh! I won’t say that. I feel sure I shall return some day. I'm going home now for a rest, and to get fresh ideas. It will be summer-time when I arrive in England. All the theatres will be closed, and I shall have a quiet spell before starting work again. It is a little surprising when an actor first comes to Australia to find what a keen interest the genera! public takes in a man’s private life ami appearance.” “ Natural curiosity," the scribe murmured. “ Perhaps,” Mr. Knight acquiesced. “But it has been said of me that I wear scarlet waistcoats, with blue ties, and yellow boots, in the street. This is rather hard to bear, as I. detest vulgarity in any form. Yes, I want a rest. I have been playing our present large repertoire for more than two years now, without a break, except the short time I was laid up with fever, just prior to my visiting Adelaide last rear.” 3® One would have thought the particulars announced by Mr Williamson regarding the re-engagement of Mr Julius Knight, and the future arrangements

concerning the plays, to be procured for him, were explicit enough. But they evidently did not satisfy that large section of the public which delights iu theatrical gossip, and rumours commenced to circulate almost immediately, attributing all sorts of wild intentions to him and to Mr Williamson. One of the most humorous of the collection asserted positively that Mr Knight had suddenly acquired a glorious baritone voiee, and was going to make his operatic debut in “The Duchess of Dantzig," when Mr Williamson produced that piece. About a year ago there was a suggestion that Mr Knight should be asked to play Napoleon in the opera, but efTh a n<dern musical comedy composer bad not the temerity to score musie for the Emperor of the French, and the part had not a line of vocal effort in it. But tha idea of a leading man in his own branch of t deserting the dramatic stage bursting forth as a principal baritone, supplies in itself an excellent plot for a comic opera on Gilbert and Sullivan lines. Mr J. C. Williamson had only just completed the reorganisation of hi« companies’ movements, consequent upon the delay in the departure of the Collier Company from the United States, when news arrived that threatened to once more entirely upset his plans. On tha day before they were to sail from Vancouver Messrs. J. D. Spreekel and Co. cabled from San Francisco that Mr William Collier and the whole of the 25 players associated with him were safe at Oaklands, a place just on the other side of the bay from the ruined city. As the place is fifty hours' distant front Vancouver it was obviously impossible, if the facts were as stated, for the people to get on board the Moana in time, and Mr J. C. Williamson naturally felt extremely anxious and puzzled, seeing that his representatives over there had assured him that al! had been satisfactorily arranged regarding their embarkation. lie had already set to work to again devise means to meet the emergency when a eable came to hand from Mr Reginald Roberts, conveying the welcome intelligence that everybody was safe on board the mail steamer, though the words “completely exhausted.” added to the cable, augured that there had been a terrific rush across country to be in time. 3® 3® Miss Fanny Coleman, whose jubilee on the professional stage is to be marked by a benefit matinee this month in London. has interesting memories of the last half-century of the drama in London. The old Haymarket Theatre, where Miss Coleman made her first appearance, under the management of Mr Buckstone, •was very difficult from the jpnesent theatre. “In those days,” she says to an interviewer, ‘‘the curtain always went up at seven o'clock —the company were supposed to be in the theatne at six—and t6e curtain did not come down till midnight. Mr Buckstone was aljvays quite annoyed if it came down earlier. The programme would begin with a farce, and that might be followed by a five-act play, and after that would come the ballet, and sometimes after that another farce. People did not dine as late as they do now.” “I remember,” con‘tinues Miss Coleman, “that at the Haymarket nearly all the dresses were made in the theatre itself; there was a dressmakers’ workroom, and a tailors’ shop where the men's costumes were made. We did not have any Paris gowns then. Salaries, too, were very, much smaller then. I remember when £ls a week was the highest salary taken in the Haythen. I remember when £ 15 a week was the highest salary taken in the Haymarket. But actors and actresses stayed much longer at the same theatre, and. the profession was not so crowded.” 3® 3® Annette Kellermaun writes amusing rattling letters to her friends in Australia. In enclosing an interview of herself, she remarks: “The things they, put in the papers here arc something

_erce.’ ” Annette Las been commissioned to write a series of articles on swimming and sports for a leading London paper. “'To-night," she writes, “I have an interview with the 'Daily Mail.’ There is a great discussion in the papers about the “egg diet,’ and they want to know my opinion about it. Bernard Shaw had a long article about diet this morning. Did I tell you I am a vegetarian? I never touch flesh food.’ It’s awfully funny, whenever there are any discussions running in the papers about diet, training, and such. I am always brought into it. Now. I ask you, what do I know about it?” "Ada Crossley has been most kind to me." says Annette Kellerniann. “We went to tea with Mrs. Katherine Tynan Hinckson, the Irish •writer. She is a charming woman. G. P. Huntley has taken us many times to dinner. He is a grand man. and how clever." Annette has not much opinion of many who are on the I-onshpi stage. Fred. Terry she liked in "The Scarlet Pimpernel,” but not .Tulia Neilsen. The Drury-lane pantomime she thought •worth seeing—the mountiug and acting splendid, the chorus and ballets very poor. The hotel the Kellermanns stay at in Manchester,is said to be the largest in the world. It is like a small village. Anything could be bought in it. J* J* There is little doubt that Mr. Andrew Black is a very fine singer (says the Christchurch ’“ Press’ ), that he is cultured, vocally in every sense, and that he has a voice of rare purity; but it is equally certain that' he has not the temperament of Santley. Mr. Black is, however, irreproachable in his methods, and, in this respect, his visit will serve as a useful object-lesson to colonial eingers on modern English vocalisation. It is only a few months ago that Mr. Watkin Mills, the eminent basso, was with us. and he sang some of the songs which Mr. Black bas also given to us. There was a noticeable difference in the interpretation of Handel’s recitative and aria " I Rage, I Melt” and “ O Ruddier than the Cherry," by Mr. Mills and Mr. Black in their renderings of that fine work. Mr. Mills’ was more strenuous, while Mr. Black’s was more refined; Mr. Mills imparted a jerkiness into some portions of that number, while Mr. Black was smoother. On the whole I should be inclined to accept Mr. Black's version. It is a pity that our baritone visitor has not the stage personality of Lis confrere. Mr. Black does not" impress one as he stands upon the platform, while the prelude of a number is being played by Mr. Gleeson; Mr. Watkin Mills, on the other hand, had a most charming presence; he did not require to sing to please, for his audience became at once impressed by his personality. Mr. Black has to sing to please, and in this respect he easily outstrips Mr. Mills. Both Press and public unite in lavish praise of the "Sinbad” pantomime, now touring the colony. In Christchurch it had an immense vogue. The “Christchurch Press” says: “‘There are those Who might easily he disposed to question the right of “Sinbad the Sailor 5 to be described as pantomime, and they would not Ire far wrong if they insisted that it was au elaborate variety show in • gorgeous setting of lavish scenery and superb mechanical effects, varied by the ballets and choruses generally incidental to musical comedy. But the large audience which filled the Theatre Royal on the occasion-of the opening performance of the piece by the. William Anderson Company had little reason to speculate as to what particular domain of theatrical enterprise it strictly belonged; it was sufficient for the moment to join in the rollicking good humour and the side-shaking mirth with which the piece abounded, or to feast the eyes on the ever-changing scenes of life and colour presented for their delectation, or to enjoy the lively and melodious music ard the graceful dancing that combined to defeat any suggestion of dulness throughout the three hours and a quarter which elapsed from the rise to the fall of the curtain. It is almost needless to say that the original story of Bin bad does not contribute much to the up-to-date version Mr. Anderson has just brought to Christchurch. Nor has he entrusted its success to the efforts of one or two particular stars and a group of lesser luminaries. This particular pantomime can boast of a bewildering array of star artists, who figure collectively and independently, and

in so many diverse capacities that any attempt at comparison would be out of the question." 'd»

A thoroughly hearty, and obviously sincere welcome, awaited Mr. Williamson's Comic Opera Company in Auckland, when they opened an eighteen nights’ season at His Majesty’s Theatre on Monday evening. ““The Gondoliers" was chosen for the re-opening of a pleasant acquaintance with the many members of this popular combination of artists, all of whom have many friends in the northern city. The opera, a perennial favourite, went exceedingly well, all things considered, though it must be admitted the present cast in no way approaches that seen here some dozen years ago or more, what time poor little Violet Varley played Tessa and Flora Graupner Gianetta. Miss Varley was an exceedingly pretty girl, with as wicked a pair of “anarkling eyes" as ever drove the gilded and electro plated youth of New Zealand to the verge of desperation. As “Tessa,” she was quite irresistible, and when, so soon after her triumphant tour of New Zealand and her marriage to tenor Tapley, she untimely died in Sydney, there was a sincere sorrowing in New Zealand playgoing circles, a sorrow which still causes a sigh when some small incident recalls the little lady, whose winsome war, clever acting, and delicate voice still remain a fragrant memory. However, to return to the present cast. Miss De Loitte and Aggie Thorn are pleasant in their parts, and the opera as a wholegoes well. To those to whom it is new altogether, it is of course additionally delightful, lhe Looking is. good for the remaining two nights of “Gondoliers,” and full housese seem assured. On Friday "Utopia Limited" is to take the boards, and on Wednesday. Mav 23. I eronique” is billed for production. A very large amount of interest centres in both these operas, neither of which have been seen in Auckland before. The rest of the season is taken up a« fol-lows:—-Princess Ida," Monday. 28th May. L nights; “Yeoman of the Guard." Wednesday, 30th May. 1 night; “The 5 Thursday, 31st Mav. 1 night; lolanthe. Friday, let June. 1 night: Patience. Saturday, 2nd June. 1 night. J* J* To the "outsider" it must be puzzling to hear and read controversies about "singing methods" when the recognised authorities in that field have expressed themseives so clearly and logicallv on the subject. Let us see what the authorities say, as quoted in the recently printed pamphlet, "Studio Notes,” by D. A. Clippinger, of Chicago. Air. Clippinger writes:- "Most singing teachers recognise three adjustments known as registers—the chest, middle and upper, lhe chest voice, it is argued, is produced by the vocal chords vibrating throughout their entire length. This is concurred in by many scientists. Most vocal teachers believe that chest voice should- not be carried higher than E, first line, but Dr. Mackenzie claims that in four hundred female voices lie examined he found in most cases the chest mechanism was used throughout. Chest quality could not have been used throughout, but the middle and head qualities were obtained with the. chest mechanism. Mancini (1774) says there are instances in which there is but one register used throughout the voice. Dr. Wesley Mills makes the same statement. Mackenzie found that contraltos invariably produced their upper tones in the head register. This is a different mechanism, mark you, from that used throughout by sopranos. Tenors, he says, use both chest and head registers, although a few use the head register throughout. Baritones and basses, he says, use only chest. Afannel Garcia, now 101 years of age." continues Mr. Clippinger, says there are three mechanisms—chest, falsetto, and head—and makes them common to both sexes. Behnke divides the voice into five registers —lower and upper thick, lower and upper thin, and small. Dr. Guilmette says that to consider that all the tones of the voice depend on one mechanism or register is an acknowledgment of ignorance of vocal anatomy, and he defines liis laryngeal and pharyngeal registers, which he says are in point of anatomy and physiology diametrically opposite. Most scientists and teachers hgree in making the vocal cords in some way responsible for tone, but Dr. Gnilmette, with reckless bravery, declare* they

have nothing to do with it—that tone is produced by vibration of the mucous membrane of the trachea, larynx, pharynx, mouth; in fact, all the mucous membrane of the upper half of the body.” Jt S* The Sydney-street Hall, Wellington, was crowded to its utmost last week with an enthusiastic audience, who had accepted the invitation of Mr. Roland MaeGowan and Miss Mina Caldow to an elocutionary and vocal recital. Both artists are new to Wellington, Mr. MaeGowan coming from Adelaide, and Miss Caldow from Dunedin, and intend establishing themselves as teachers of their respective arts. Judging from the way they acquitted themselves, end the very cordial reception given them, both should prove an acquisition to Wellington dramatic and musical circles. Mr. MaeGowan proved himself to be an elocutionist of exceptional ability and great versatility, being equally successful in humorous, dramatic, descriptive and character recitals. The lighter numbers were received with hearty applause, "The Amateur Rider" (Banjo Paterson) being particularly well done. "The Groom’s Story,” given as an encore, fairly convulsed the house, and Mr. MaeGowan displayed a genuine fund of humour throughout. Possibly, however. the elocutionist’s best effort was Willis’ tragic poem. "Parhassius,” given with wonderful dramatic power, albeit with true artistic restraint. “The Legend Beautiful" (Longfellow) was well delivered to a musical accompaniment of Stanley Hawley played by Mr. Cyril Towsey. “The Vagabonds" (Trowbridge) was a capital character sketch, the pathetic story of the human wreck being told with sympathy and power. Miss Alina Caldow is the happy possessor of a powerful, well-trained, resonant voice of true contralto timbre, even through its whole compass, and not marred by the distressing vibrato, so frequently heard on our concert platforms. Miss Caldow’s greatest effort was “Aly Heart Is Weary," and she exhibited good musical intelligence and temperament in the difficult recit. and aria. Gounod’s scena, "Entreat Me Not to Leave Thee," was sung with remarkable breath control, this playing no small part in gaining the purity and evenness of tone acquired by the young cantatrice. Equally well rendered were ““Caro Alio Ben" (Giordani). "The Waggon" (Molloy). “Love the Pedler" (German), “Summer Rain" (Willeby), and "Afelisande in the Woods” (Goetz). Both artistes had to supplement most of their selections. Mr. Stanley Rankin displayed a fair amount of musical knowledge in "Let Ale Love Thee" (Arditi) and "Indian Love Lyrics” (Amy Woodforde), but his nervousness scarcely allowed him to do himself justice. Mr. Cyril Towsey played the accompaniments in his usual refined and artistic manner. Altogether the artistes are to be congratulated on their very successful debut, which augurs well for their future. ; 'J* 'd* It is frequently affirmed that Beethoven was killed by the misdemeanours of the nephew he adored. The statement is far from being true, though it seems indubitable that for eleven years these two were the torture of each other's life. Af. Cliantavoine, in “La Revue," recently (old the whole history, and by the help of the notebooks in which people wrote down their answers

when in conversation with the great iu»> eiciau, aroused almost as inueii -yae* palby for tile boy aa llie man. Beethoven was left the child’s guardian by, a brother married to a >viuan of wheat it is impossible to say anything except that she was extremely bad. She had not only no moral sense, but was full pi deceit and meannesses. For years after the bey had passed into the care of his uncle she tried surreptitiously to poison the former’s mind against the latter. As Karl grew up Beethoven’s ideal of conduct chafed the boy, who was of a very average disposition. Beethoven desired him to become “either a scientist or a musician” but he had not the temperament of either, and his one personal desire was to become a soldier. This his uncle would not hear of. and in consequence the boy, not in tune with his occupations, did no good at his work and a good deal of mischief in his leisure hours. They were always having scenes, in which Karl, however, seems to have shown genuine regret for his peccadilloes. Some lines he wrote in one of the notebooks after having been drunk in a eafe have something sincere and boyish in their apology. Beethoven adored him, but the two were chronically upon each other’s nerves. The character of a boy was outside Beethoven’s grasp, and he made no allowances. Karl was intelligent enough, and his answers in the notebooks suggest that he on his side was also fond of his uncle as well as extremely proud of him. But he was the son of his mother, as well as his father, and Beethoven’s high standard of conduct simply drove him to the other extremity in sheer desperation. July of 182 G Karl tried to commit suicide. He was taken to a hospital, and in answer to Schlemmer, one of Beethoven’s great* friends, replied that he had done so because he had always been unhappy. The wound was superficial and soon healed. Matters were patched up between the two. and during Beethoven’s last illness Karl, for a time, nursed him both carefullf and affectionately. But Beethoven had now given way as to an army career for the boy, and with the help of friends Karl became a cadet in some infantry, regiment. He was away at work 1 when Beethoven, heartsick and yearning for him. died: but after bis uncle’s death’ Karl proved a good soldier.