Music and Drama

New Zealand Graphic, Volume XXXIX, Issue 1, 6 July 1907, Page 26

Music and Drama

The ‘‘New York Press.” in a recent article on American bad manners in the concert hall and at the opera, made these admissions:—‘‘Let the music plunge into a sudden silence and a dozen whispers are betrayed, programmes rattled, and a number, of other (mannerisms which have been creating a separate circle of annoyances. Chairs are scraped along the floor, doors allowed to squeak, and late-comers to stalk in with insolent indifference to the havoc they are creating. From the top gallery of the opera to the most decollette row of boxes there is a ceaseless rustle anti whisper, betraying what 6 s worse than bad manners—a complete lack of sympathy with what is l»eing offered. For die who is open to the glamour and meaning of music is morbidly sensitive to any alien sound or sign; and it is to him that the niu»ic belongs. The others have paid for their seats, but for all that they are Outsiders, allowed in on sufferance, and should behave as such.” Madame Albani, now visiting Australia. and shortly to come to New Zealand, is not an Italian. She is a French Canadian. In private life the artist is Mrs (lye. The name Albani was selected by Iximperti. the great singing master, when the young soprano from Canada made her first appearance in “La Sonnambula,” at Mcraina. Italy. The artist was then 18, and the Opera House, at the close of the brilliant performance, rang with Shouts of “Albani! Albani?” J A recent concert in Gisborne afforded Some humorous incidents, although they were most displeasing at the moment, says the “Poverty Bay Herald.” “The Ideating of my own heart was the only sound I heard.” sang Mrs Howie in that rich voice with which she is gifted; it was deeply impressive, lait unfortunately just at that moment the town clo«-k clanged out the hour of nine. •‘Good-bye, Summer,” sweetly <ang Miss Bonar-Miller, and there came a shower of hail on the iron roof. The duet. “The Wanderer‘s Night Song,” ■was being delightfully sung by Miss Miiler (soprano) and Mrs Howie (contraltos when there came a soulless larrikin to the side door and uttered a piercing “wlioo.” Fashionable women in Cleveland (Ohi<» have established a manicure parlour for cats. It is regarded as a form of a-mews ment. At a •‘sing-soag” given the other night by a' well-kn<ywn gentleman in his home. *a male gueat sang Queen of the FsrUi.” The UmC, beat ou making

things pleasant all round, asked what sort of queen she was —was she queen of diamonds’ “No,” coyly interjected the host’s nipper; “queen of spades,” The nipper was “shovelled" out of the room to bed. J* J» The gallant Ganz, who would have us believe that Patti was married for the first time in 189!), tells of a private operatie performance at Craig-y-nos, the singer’s castle in Wales:—“Soon after Madame Patti’s happy marriage with Baron Rolf Cederstrom. one of the most charming of the many agreeable Swedes whom 1 have met—she asked me to come down to Craig-y-nos and conduct ‘La Traviata,’ which she proposed to give on the stage of the lovely little theatre in the castle, as her husband had not heard her sing in opera. The performance, on October 16, 1899. went off well, and, needless to say, all the visitors staying at the castle and all the neighbours who came for the event were enchanted. Especially enthusiasm was raised by Madame’s brilliant execution of ‘Ah fors’ e lui’ and the melancholy “Addio del passato’ of the last act touched all hearts.” J* Miss Mirie Hall, the famous violinist, is now visiting New Zealand. Mr M. Marcus, manager for Messrs. J. and N. Tait, jjas re-arranged the tour, which commences on Thursday evening. July 4th, at Wellington. Miss Hall will give a series of three concerts at the Choral Hall on Thursday, Friday and Saturday evenings, July 25th, 26th and 27th New Zealand instrumentalists are to be congratulated upon being able to hear Mi>s Marie Hall, who is included amongst the six greatest violinists of the present day. o’ J* The young Australian pianist. Mr Percy Grainger, seems likely to secure fame nob only for his playing but also for his compositions. According to letters received recently he is now hard at work upon some very ambitious efforts, in which Sir Edward Elgar is taking great interest. In /act, the latter has given as his deliberate opinion that Mr Grainger is to be one of the world’s modern composers. J« J* To those who are acquainted—and who is not—with the world-wide reputation of Clara Butt, whom the “Daily Mail” calls "the custodian of a nation’s voice,” it will come as a shock to learn that that voice was very nearly lost to them. Her parents were adverse to her following a professional career, and had it not been that she won the Royal Scholarship of 400 guineas at the Royal Academy of Music. Miss Butt might have wasted her sweetness on the desert air of suburban drawing-rooms. Of course, when she made her debut in the Albert Hall there was no question of her future. The public enthusiasm was repeated next day in the Press, and from that day Madame Clara Butt has never looked back. J* After a most successful tour through Canada, the United States and Australia. Miss Jessie Maclachlan will give a series of farewell concerts in New Zealand, commencing Monday. July 15th. in Auckland. Few vocalists that have visited New Zealand have been more popular with the various audiences than Miss Maclachlan. The reason is not far to seek. Imbued as she is with a deep and intense love of her country and of its minstrelsy, she infuses into her singing a spirit and fervour which makes a -Jeep impression upon those who hear her. It is not only the fact that she is a vokalrit of rare ability, and that she possesses a soprano voice of great power and brilliancy of tone, that makes her so successful. She is also above everything a true exponent of the inner spirit and character of the songs she sings. When she bursts forth with unrivalled power and expreo-

sion in the martial strains of the Scottish patriotic songs, she kindles in the hearts of her hearers a fire of patriotism. Equally successful also is she in the simple ballad*. those.songs of the people that they have heard tlieir mothers sing, which awake memories of their childhood and the country they have left behind. It is this which makes Miss Maclaehlan's singing of Scottish music stand out so pre eminently. She feels what she sings, and she infuses her whole heart, aided by her incomparable voice, into the interpretation of the songs she is singing. Nothing finer in the range of vocalisation can be imagined than the trumpet-like and powerfully dramatic manner in which she declaims “Scots Wha Hae,” “A Hundred Pipers," and that wonderful song “Blue Bonnets o’er the Border.” What wonder that, the impressionable Celtic nature is moved to the wildest enthusa ism. So also in songs of England and Ireland, the priraa donna is equally at home, showing that she possesses, in an eminent degree, the true artistic spirit. In Mr Douglas Young, it is said, the company possesses a tenor of rare ability, whilst Mr McLinden's ’cello solos are also most artistic. Mr Buchanan adds to the completeness of the company by his excellent accompaniments. J* Santley tells a story of the effect of his operatic acting on a member of his own family. He was appearing as Valtine in "Faust.” and among the spectators was his little daughter. who was witnessing her first stage performance. During the duel scene, she became terribly agitated, and when Santley fell, after receiving his “fatal” wound, his daughter gava a piercing yell, and had to be carried screaming from the theatre! Valentine’s song, “Even Bravest Heart May Swell,” was written expressly for Santley’s voice by Gounod, one of the closest friends of the vocalist. Jt Jt In America, at all events, orchestral enterprise appears to be meeting witii encouragement of the most practical description. At Pittsburg, according to the “ Musical News,” Emil Pauer. the well-known conductor, is to receive a salary of £3OOO for the season, while the orchestra itself is supported by a guarantee of £BOOO per annum for the ensuing three years. Minneapolis has raised a sum of £ 18,000 in order to carry on its orchestra under Emil Ober hotter for a similar period, and the Theodore Thomas Orchestra, directed by Frederick Stock, has recently been presented with a donation of £ 10.000. JU J* A Vienna correspondent writes: — “The Emperor Francis Joseph recently conferred orders upon several of the artists who took part in the festival held last year at Salzburg, in honour of the 150th anniversary of the birth of Mozart. As it is some time since his Majesty bestowed honours upon artists, the marks of favour are all the more gratifying to those concerned. Lilli I.ehmann received the gold cross for merit, and Felix Mottl was honoured by the expression of his Majesty’s great appreciation of his talent. Further, the Emperor conferred upon Dr. Camille Saint-Saens the Austrian decoration for art and science. J* JI Santley is seventy-four, and his musical jubilee has been celebrated recently in the Albert Hall, London. A medical friend of the writer of the “ Scientific Notes ” in the “ Pall Mall Gazette ’’ enlarges upon the price he would pay for the privilege of gazing upon Santley’.* vocal chords. But “C. W. S.” says that “ vocal chords do not make the sifiger.” “ What gives beauty, character and value to a voice is its over tones or harmonies. These are produced rs the vocal chords, but as far as the chords are concerned they are only potential. It is the resonator’s chest, throat and nose which select and reinforce certain cf these over • tones, while ignoring others.” JI Jf There is a certain kind of cheap piano which commands a market among humble folk who can afford only a very few pounds for an instrument. Pianos of this particular order arc known in the profession as “ orange boxes." The

description obtains a peculiar signifio* a nee in the light of an advertisement—* quoted in the “Music Trades Review”— which appeared iu a recent issue of • German horticultural journal—“ Garten-hau-Zeitung.” It ran thus: “Piano, new, elegant, noble tone, for sab> (cheap). Will take apples in exchange —P I , Berlin, 5.0.” We maw be forgiven the hope that Germany wf* keep that piano. Jl J* There was no mistake (writes frtenv George Tallis) about the reception give* to Mr. J. C. Williamson’s new Comedy Company when it inaugurated its Au* tralian career at the Princess Theatre on Saturday evening (..line 22nd), with a delightful performance of “The Blue Moon.” Tlie combined attractions of a new piece and new people sufficed in itself to draw a very large section of Melbourne playgoers to the theatre —indeed, ■the whole of the dress circle and all but a few seats in the stalls were all reserved before the opening night, and the im. mense audience which assembled showed every symptom of unequivocal approval, expressing their appreciation alike for the splendid mounting, the gorgeous Eastern colouring, the artistic setting, and the veritable triumph which Mr. Gerard Coventry has secured in the general production of the piece, while each and every member of the new organisation made a most favourable impression. In singing the company proved particularly strong; Miss Amy Murphy’s beautiful soprano and Mr. Reginald Kenneth's fine resonant baritone were uplifted in numbers that pleased the audience immensely, while Miss Maud Thorne also sang daintily and expressively. In comedy work the organisation is no less well equipped; Mr. Victor Gouriet scored all along the line as Moolraj, the Burmese-Bermondsay boy, his song, “O, Be Careful of the ’ Crocodile." with its quaint” danee. scoring a triple encore. The same compliment was paid Miss Daisie Wallace for her takingly sung “She Didn’t Know." and this lady achieved a genuine triumph for her singing, her acting, and her dancing alike. Mr. Myles Clifton also shone to advantage, and the same remark applies to Mr. Harold Parkes. Miss Celia Ghiloni, and Mr. P. B. Bathurst. Chorus and orchestra, under the new conductor (Mr. Alfred Moulton), could not have done better, and altogether the premiere was a most emphatic success. Jt Jf In many respects, the tour (including New Zealand) upon which the “Mother Goose" Company has just entered is one of the most extensive ever essayed by any of Mr. J. C. Williamson's organisations. and it is doubtful whether any other management in the world would attempt it. As a single instance of the long distances to be crossed and the expenditure involved, the forthcoming trip to Perth may be quoted. Only that town in West Australia will be visited, and it has only, comparatively speaking, a limited population within reach of the theatre, and yet it will cost in fares alone a round £750, without freight and other expenses, to transport the company there, while the whole of the passenger accommodation of a large coastal steamer will have to be given up to the members —and this for a fortnight’s season. Then, too, the smaller theatres to be met with on tour has necessitated the duplication in a smaller size of every single piece of scenery and property in the same lavish style of ornamentation as has distinguished the mounting in the big metropolitan centres. Again, the necessity of "carrying kids." as the presence of children in the company is refered to. puts a big responsibility on the shoulders of the management. The youngsters have to lie carefully looked after, and two trained nurses have been engaged for that purpose. who will watch over the youngsters* interests and well-being by night and day while one of the first duties of the advance agent in every town will be to fix up comfortable quarters for them near the theatre. Finally, whenever a land journey is to be made by the company a special train will tie required, so that altogether "Mother Goose” will have to keep on laying large size eggs in order to cope with the task of keeping that gay old bird moving around the Common* wealth and New Zealand. **. * Though the name of Carreno is new to most New Zealanders and Anstraliaao

M a pianist, it is well recognised by those in touch with the musical centres of the old world that she has long held an unique position among the leading pianists of the day. It is the personal quality that speaks through Madame Carreno's fingers that accounts for the extraordinary charm that her playing yields both to the musician and the uncultured listener. Everything she does means something. Says one critic:—"ln no pianist before the publie is that rare art of appealing directly to the senses more highly developed than it is in the case of Madame Carreno. It is a common remark to say that a piano is made to eing. In the ease of this remarkable woman it means that the touch of the soul is at the end of her fingers, just as it hovers in the singer's throat. Madame Carreno is said to have reached the maturity of her art.” She comes to New Zealand under the wing of our old friend, Herr Benno Seherek. Apropos of the above, Carreno has been delighting Melbourne and Sydney audiences in an unprecedented manner, and comes to Australia with an immense reputation. Her breadth of tone is marvellous, exceeding that of any contemporary performer, while her soft playing is of exquisite delicacy, and she has striking individuality, with a temperament which immediately enslaves her audiences. Her tour is a flying one, as she has to come on to us in New Zealand, and yet be in America by October. As the name denotes, "Brigadier Gerard,” Sir Arthur Conan Doyle’s fine novel, which is to be staged as a comedy drama by Mr. Julius Knight and Mr. J. C. Williamson’s Dramatic Company on Saturday next, is a military play, dashing, sparkling with gorgeous uniforms and dressings, and full of grand situations. It is a story of the time of Napoleon, showing how Captain Gerard is sent in search of papers which are in the hands of the conspirator Tallyrand, and, after numerous thrilling situations, he eventually recovers them, Mr. Knight has an ideal part in the title role. Miss Marion Grey’, as the Comtesse, stately and attractively dressed, is very effective; Mr. Hubert Willis represents the Emperor Napoleon, as a cold, stern, inevitaMf. and exacting soldier; Mr. ]>eslie Victor pourtrays Tallyrand as a sinister, unscrupulous foeman of Gerard. Otherparts are sustained by- Messrs. Rupert Julian, Harry Plimmer, Herbert Bentley-, Reynolds Denniston, and Miss Dorothy’ Sidney. The story of the pray rends itself to the display of elaborate and picturesque scenery and dresses. Jt J* Rallies pleases the publie immensely, and as the gentlemanly burglar Mr. Knight is certainly hard to resist. The production affords an amusing evening’s entertainment, and to enter upon the ethics' of the play as a play would be as absurd as to discuss' the morals, honesty, and sobriety, etc., of the puppets in musical farce.’ "Rattles” will not educate or elevate, and has ho pretences that' way-, nor is it one of those productions likely to require revisal. but it Inii-t have already proved a very good investment for Mr. Williamson. Its popularity, may be ephemeral, but while it lasts it "goes big,” as they say on the stage. JU J* An evening with Wagner—being a description of Tannhauser, Was given before the Auckland Society of Musicians and friends by Herr Johan Wielaert last week. The leeturette. which was bright, able, and instructive, as well as entertaining, was excellently illustrated by some of the better known numbers, the parts being taken by Madame Wielaert <Elizabeth and Venus), Mr. Carter (Tannhauser), Mr. Barry Coney (Wolfram ami Herman), ami Miss Rosewarne (Shepherd). e* The third adventure in matrimony by Miss Ellen Terry has drawn-attention to the faet that when she married the second time she was seven years in retirement from the stage, and seemed even as if she might leave it for ever. In her life of the actress Mrs. Cran writes; "Here there seems to be fresh proof of that curious want of ambition to which Ellen Terry conf eseed later on. She

had played each part as it came in her way as well as she knew how, but each part was not to her as a battle won to conquer an empire. She did not see that empire in her dreams. She never had the slightest craving for glory. She renounced her career at the age of twenty without any suspicion that she

had anything to renounce. For Six years she lived in the country, putting all that energy and vitality which she was afterwards to devote to her art into her life. Ji J* “It is said that Charles Reade, when hunting in Hertfordshire, met her by chance in a country lane, and told her in his rough yet kindly way that she was a fool to have left the stage. ■'Why don't you go baek?’ '1 don’t want to.’ ‘You will some day.’ ‘Never.’ Then, mindful of certain financial troubles threatening her rural peace. Ellen Terry added: ‘At least, not until some one gives me £4O a week.’ ‘Done!’ said Charles Reade. 'I will!’” Reade thus recorded the event in his diary: “Ellen Terry. A young lady highly gifted with what Voltaire justly calls le grand art de plaire. Left the stage for some years. . . . Her expression kills any pretty face you see beside her . . . She is a pattern of fawn-like grace. .. A very eharming creature.” J« JU

Sir Squire Bancroft, Mr. John Hare, and Mr. W. 8. Gilbert were among the brilliant gathering at the Royal Academy Banquet, at Burlington House, at which the Prince of Wales was present. Music had eminent representatives in Sir Hubert Parry and Mr. Charles Santley.