Music and Drama

New Zealand Graphic, Volume XLI, Issue 12, 16 September 1908, Page 16

Music and Drama

Bland Holt's New Zealand tour opened .▼cry auspiciously in Auckland last week, just after this paper went to press. The system of playing to popular prices, combined with the enormous popularity of the actor-manager and his wife, resulted in many hundreds being forced to wend their way home playless on the first night, and to return earlier another evening, for the house was filled |(or booked) within a few moments of the opening of the doors. Mrs Holt ripens the play, and received a tremendous ovation on “coming down centre” in a lovely wood scene, and Holt himself was welcomed with wild enthusiasm only a moment or two later. The couple are mainly responsible for the success of “The Great Millionaire,” which, apart from its sensations, and as indicated the admirable playing of the Holts themselves is inclined to be a little dull. The motor car disaster provides a thrill, however, and the Carlton Restaurant soon# is very realistic. The second play, “The Breaking of the Drought,” is being performed while this paper is in the press, and a further notice must be till next week. It promised, however, to be one of the very best things the Holts have given their patrons. Jt Jt Now Zealand can lay claim to another singer of distinction in the person of Miss Sybil Tancrcdi, who is now appearing as a prima donna at the Manhattan Opera House, New York. Miss Taneredi is a daughter of Mr R. S. Hawkins, (who was in Wellington for some years ns editor of one of the leading papers. Isater on he was Stipendiary Magistrate for several places in the South Island. IThe Paris “Figaro” describes Miss Tanc.rodi, who takes her stage name from her grandparents (Sir Thomas and Tatdy Tancredi), as possessing a superb soprano voice, and predicts a great career for her. Jl Jt “It is simply remarkable the great number of young people there are who want to go on the stage,” said Mr Charles !A, Wennan, stage director of the “Miss Hook of Holland” Company, now in its seventh week at the Criterion Theatre. “My experience has been the same in Sydney as in Melbourne. Scarcely a day passes that I do not receive numbers of applications for positions in the company, mostly from young ladies. What surprises mo more, however, is the considerable amount of talent there is available Shore for the stage. There is enough majterial to equip a number of companies. The Australian girl seems to be gifted naturally for a stage career.” Jl Jl Mr Arthur Appleby, the bzaritone appearing in “Miss Hook of Holland” at the Criterion Theatre, Sydney, sang in oratorio in England before going on the Btage. He commenced his theatrical career with Mr George Edwardes’ companies, understudying Mr Haydon Collin in “The Geisha” at Daly’s Theatre, and touring as principal baritone in “The (Ireek Slave,” “San Toy,” and other musical pieces. Before coming to Australia Hinder engagement to Meynell and Gunn, Mr Appleby appeared with the Seymour llioks Comic Opera Company, whose tour included Buenos Ayres. Mr Appleby is ft New Zealander, and left Christchurch for London in 1892, where he had a brilliant career at the Royal Academy ot Music. 'Jt Jt The true lover of flowers will not engage you in a discussion as to the superiority of the rose or the lily, but he will flraw your attention to the superlative beauty of a particular specimen of each [(says “Lancelot” in the “Referee,” comparing Melba and Tetrazzini). Mme Melba has a voice of such distinctive quality that it is easily recognised at a considerable distance. Not only has it a peculiar bell-like tone, but every note possesses thia distinction with an -evenness that has caused her voice to be likened to -a string of pearls. Mme. Melba's execution of florid passages is technically perfect, and she gives you the traditional readings of the old Hchool of Italian opera. Mme. Tetrazzini’s voice has not this distinctive quality, and (Whereas Mme. Melba’s best notes are in the medium register, those of the Flor-

cnce prima donna are in the head register, and the highest notes possess a volume which is phenomenal. But the great difference between the two singers, and one which renders comparison futile, is the point of view from which each singer regards her art. That of Mme. Melba is lyrical; that of Mme. Tetrazzini dramatic. The -singer of the former shows that beauty of tone is her first consideration, while that of the latter indicates that it is dramatic truth which dictates the character of the tone. Mme. Melba sings and acts, Mme. Tetrazzini acts and sings, and in proportion as one admires prominence of the lyrical or dramatic in art, so one will favour either singer. Jl JI The “Scarlet Troubadours,” who are journeying to New Zealand by way of Tasmania, have been delighting large audiences in Launceston and Hobart. They open in Dunedin on September sth, and are booked to give four performances in Auckland, commencing October 26th. J* Jl Mr. Harry Hill, who is a native of Christchurch, and well-known to New Zealand playgoers for his fine work as Lord Jeffreys in “Sweet Nell,” is now managing the Melbourne Histronio Club, and doing so successfull y Jl Jl Mr Gordon Craig has raised a delicate and significant question in his new journal of the art of the theatre, “The Mask.” He has asked a number of distinguished players and playwrights whether, in their view, the actor should be allowed the same liberty in his expression of the passions as is permitted to the writer or the painter. The replies discuss the question from many points of view, but on the whole are favourable to realism. “Why not?” asks Mr Beerbohm Tree, though he qualifies this approval by adding that the representation of realism and of passions should be governed by art. Surely, even under the sacred name of Art, Mr Tree does not mean that the actor should have the same liberty as that which, rightly or wrqngly, is permitted, for example, to some of our modern purveyors of fiction. Mr Sydney Grundy, who is among the dissentients, seems to hit the nail fairly on the head when he answers the question with: “Most certainly not. The actor is flesh and blood. The writer is printer’s ink, and the painter is coloured canvas.” Exactly. Jt Jl Mr Henry Bracy will manage the Australian and New Zealand (our of Aladame Ada Crossley and concert party. J* Jt Madame Ada Crossley has written to. Mr Alfred Hill with regard to'his Maori songs, having heard Madame Albani sing his canoe song, saying that she would ba delighted to sing any. of Mr Hill’s contralto songs herself. Mr Hill Is preparing one for Madame Crossley. Jl Jl Earlier audiences were requested to vote for items on -the final programme in Melbourne by Mark Hambourg. The following was the selection made: Bach’s Prelude and Fugue, Cihopin’s Sonata and Funeral March, the famous Black Note Study Nocturne and Mazurka, Polonaise in A flat, and Liszt’s Rhapsodie, No. 6, Jl Jl During the three terms last year the average number of students who received tuition at the Guildhall School of Music was 2508, and the fees paid for tuition and examination amounted io £23,283. Of thia sum, £ 16,811 went to the professors and examiners. On the whole year there was an excess of expenditure over income of £994, which was met by the corporation. The number of professors is now 126. Jl Jl Madame Carreno, the distinguished pianist, who recently visited Australia, is to be one of the soloists at the Sheffield Musical Festival In October.

Mr Geo. H. Saazelle gives an “Era” interviewer some amusing particulars of his earlier career: —"To begin with,” said Mr Snaselle, “I was born in Kent just fifty-nine year* ago, and underwent a commercial education here and in France, where, I’m afraid, I didn't study the language so much as I ought to, but made up for it my being able at the end of two years to play nearly every instrument in the College Band—from the trombone to the kettledrum. I subsequently obtained a situation in a subordinate position in a merchant’s office, but got the honourable order of the sack because I took the whole of the important foreign mail to a cricket match instead of to the post-office. I then went to sea for a time, but that did not last long. Later I engaged with a French firm as a commercial traveller, and, equipped with a handsome horse and trap, had to push the sale of elastic webs for side-spring boots. This occupation lasted three months. I don’t recollect getting any orders, but I do recollect having eleven fights'. I then resolved to go into a bank. A friend and myself tossed a coin as to which bank we should select, and I won, and had first choice. My salary at the end of ten years was £l5O a year; my friend (he is still my friend) is a partner, and draws £20,000 a year. I don’t. However, life has its compensations, for I’ve seen all the world —he hasn’t; and he’s got the gout—l haven't. That finished my commercial career, and for this reason. I was always passionately fond of music of the highest class, and I used to spend all my spare cash on the Popular Concerts and the opera. Accordingly, having some knowledge of music and a bass voice, while still employed at the Bank I placed myself under the best master I could afford, and knocked together a repertoire of about ten small parts in Italian opera. Through the late Lord Kinnaird’s Influence, I was engaged by the late Col. Mapleson at Her Majesty’s Opera, and I used to rehearse under Sir Michael Costa, singing with such eminent vocalists as Titiens, Trebelli, Bettini, Christine Nilsson, Valleria, Del Puente, Campanini, Wachtel, Behrens, etc. The £l2 a week I received, though, perhaps, singing only once a fortnight, was a nice addition to my little £3 a week at the bank. At last I cut the painter, and branched out into opera entirely, with Mr Carl Rosa at the Princess’ just thirty years ago. At the Grand Theatre of Calais a few days ago, a performance was given of “Sigurd,” the well-known opera by Reyer. The audience was quite enthusiastic. until “Sigurd,” the Prince of the Rhineland, entered on horseback. “Sigurd” should have sung immediately on entering. The audience did not give him time. Everybody in the crowded house had recognised the warrior’s steed' as the horse which, from time immemorial, has drawn, the Calais' omnibus from the pier to the station. “It is the omnibus horse!” shrieked the crowd. “Three cheers for the omnibus horse 1” And the cheers altogether drowned the orchestra. In the midst Of them “Sigurd” slipped off his Rosinante and prepared to sing on foot, and Rosinante ambled off the stage and out into the street. Jl Jl I notice that Nance O'Neil, who has been playing a Californian season, opened in >San Francisco with “ Magda.” She docs not appear to have secured another play to suit her peculiar gifts quite as well as this tragedy. McKee Rankin was announced in the caste for his famous porutrayal of Colonel Scwartze. Jl J»Mrs Brown Potter is to become a. militant suffragette as soon as she has acquired a competence to live upon. I wonder what would be regarded as a. competence? “We women are no longer puppets on the stage of life, placed here or there for show or effect, by mere man,” says Mrs P. “We are living, WO are free. At last we are true cifizenesseis of the world, bound not by the feudal ties of serfdom or fealty, but by the larger and ennobling bonds of citizenship and patriotism.” Hurrah! Jl J> The announcement is new made by Messrs Meynell and Gunn that “Miss Hook of Holland” will be aeon later in New Zealand, Presumably this will bo about the middle of next year, as the company is booked to produce “Cinderella” on a big scale in Melbourne al Christmas, and will no doubt afterwards do a Sydney season with the pantomime.

Mr G. 8. Titheradge, who is * prominent member of the Margaret Anglin Company, has reason to regard Australia as an actor’s paradise, if the following story, which he narrates, io the common experience of the artist behind the footlights in the States. He was engaged by a very prominent dramatic star for a season in New York. The first day's rehearsal was called for half-past 9, and after working all the morning, Mr Titheradge naturally felt a void at midday. But the rehearsal went on and on, and plainly the requirements of the inner man did not come into consideration at all. However, the company seemed used to it. Not so Mr Titheradge, who calmly went up to the star, who was his own producer,, and informed him that he was going out to lunch. A gasp of amazement from all within hearing followed, and the company looked to see the bold Mr Titheradge pulverised. But astonishment had rendered the star speechless, and “Tith" went out. The same thing happened next day and the day after, and then a notice was put up on the call board “There will be an interval for lunch from 1 to 1.30.” “The company came up and thanked me with tears in their eyes,” concluded Mr Titheradge, “for the innovation. So I can boast of having introduced one reform on the American stage." Jl jl The stage property rooms, etc., of the King's Theatre, Melbourne, nowadays look like a small Zoo. Native bears, jackasses, iguanas, wallabys, and other Australian animals and birds daily arrived in batches for the production of “Robbery Under Arms,” says an Australian exchange. In addition, William Anderson introduced into “ Robbery under Arms ” a six-horse coach purchased in Gipsland. A country race meeting was another spectacular scene. Jl Jt Mr. Alfred Woods and Miss Maud Williamson, on the conclusion of their South African tour, return to Australia after an absence of nearly six years. They bring with them a number of new plays, including “ The Last Days ot Pompeii,” “In Old Madrid,” “ Th e Woman Pays,” “The Garden of Lies,” “The King’s Mistress,” “ Cara,” “ A Prince of Sinners,” “ The Sin of Silence.”