Music and Drama

New Zealand Graphic, Volume XLII, Issue 21, 26 May 1909, Page 13

Music and Drama

BOOKINGS. (Dates Subject to Alteration.) AUCKLAND—HIS MAJESTY’S. May 17 to June 5—J. C. Williamson. June 7 to June 26- West’s Pictures. June 28 to July 6— Hamilton Dramatic Company. July 5 to July 24-Hamilton Dramatic Company. July 26 to August 7—J. C. Williamson. August 24 to September 7—Hamilton Dramatic Company. WELLINGTON.—OPERA HOUSE. May 29 to June 18—Flemming Company. June 19 to July 24—Allan Hamilton. July 26 to August 13—Pollard Opera Co. August 16 to 28—44. Musgrove. August 30 to September 12—J. C. Williamson. September 14 to October I—J.1 —J. C. Williamson. October 2 to 16—Allan Hamilton. October 25 to November 13—J. U. Williamson. November 15 to December 9—J. C. Williamson. December 27 to January 16—J. C. Williamson. TOWN HALL. July 4 to 28—West’s Pictures. PALMERSTON NORTH — MUNICIPAL OPERA HOUSE. August 4, s—Allan Hamilton’s Dramatic Co. August 12. 13—J. C. Williamson’s “Jack and Jill’’ Co. August 27—Miwhn Elman’s Concert. Sept. 20, 111—J. C. Williamson’s Julius Knight Co. October 6 and 7—J. C. Williamson. Nov. 1 to 6—Hugh Ward’s Musical Comedy Co. Nov. 20 to 22—J. C. Williamson. Jan. 17, IS- Carter, the Magician, Jan. 20 to 24—J. C. Williamson. Feb. 14, 15—The Scarlet Troubadors. March 28 to 31—Allan Hamilton. May 19, 20—J. C. Williamson. June A. O—J. C. Williamson. June 20 to 25 —Fred H. Graham’s Musical Comedy Co. June 29. 30—J. C. Williamson. July 1. 2—Meynell and Gunn. August IS, 19—J. C. Williamson. Sept. 30—J. C. Williamson. October I—J.1 — J. C. Williamson. Nov. 1 to s—Allan Hamilton. Nov. 10, 11—J. C. Williamson. The Coming of Nikisch. PROBABLY there is no finer conductor living than Arthur Nikisch, the famous Hungarian, who is frequently to be seen at Queen’s Hall with the London Symphony Orchestra. In hie own particular world of interpretation, Nikisch ranks with the great Dr. Richter. To have heard each conduct “Tristan and Isolde,” Wagner’s tragic three-act opera, is to have heard two masterly renderings, each magnificent, each distinct. The manner of Nikisch’s coming is of rare interest, since that great conductor is now happily as well known to England ae to Germany. Dens off, at one time chief of the Vienna Conservatorium, and a very important musical personage in the Austrian capital, wrote in or about the end of 1878 to Neumann, to the effect that he wished “to recommend a young musician, formerly one of the pupils in my conservatorium. At the present moment he is a second violin in the Royal Opera of Vienna. I want you to take notice of him, for he has ambition, and, in spite of his youth, a musical knowledge that occasionally strikes me as marvellous.” Neumann, himself ever on the look out for genuine ability, summoned the Hungarian youth to his hotel, and within an hour had engaged him as chorus master at Leipsic, vice Victor Nessler, resigned on the success of his opera, “The Pied Piper of Hamelin.” For three months the youth fulfilled his duties of “Chorrepetitor.” “From the first rehearsals,” wrote Neumann to Dessoff, “I found' this young friend invaluable. The assistance he gave us in our gigantic task (the preparation of 'Rheingold’ and ‘Walkure’) called forth our amazement end delight. It often happened that an orchestra rehearsal was going on in the ■main hall with Sucher conducting, while we were rehearsing some part of the chorus or the ensemble on th® stage at the same time. Then it was that our new chorus leader, who took Bucher's place at the piano, often without opening the score, prompted the singers in

each of their roles word for word. When Sucher finally had so much to do that he could no longer conduct the solo or ensemble work, it was a pleasure to eee how eagerly all the artists demanded that thia youug fellow should take his place at the piauo. It is my candid opinion that we owe the triumphant success of our tremendous Lmk as much to the unbending energy of Arthur Nikisch (for that was the young fellow's name) as to the faithful rehears, sis of Sucher himself.” Angelo Neumann, whose “Personal recollection of Wagner” was published recently, tells a delightful tale of a quasidilemma, iu which he found himeelf placed through the receipt of the follow* ing telegram while he was holiday nxiking:—“Orchestra refuses to play unde* Nikisch —too young. What shall I (Dr. Forster, the Intendant of the Leipsic Opera) dot” Neumann telegraphed promptly to Leipsic, ordered a rehearsal, explained their rights and their limitations to the players, and told them that if so disposed they might hand in their resignations on the close of the overture to ’Tannhauser’ (the opera Nikisch was to conduct). The overture was played, and “the success of the young conductor was so unqualified that the musicians themselves begged him, apnd a storm of cheers and- congratulations. to continue the rehearsal at once: and with thia performance of ‘Tann)»a user.’ Arthur Nikisch entered the ranks of the foremost conductors of Germany.” " The Merry Widow.” “The Merry Widow,” which made its appearance at His Majesty’s, Auckland, on Saturday night last, and has previously been drawing full houses in the South, has had the greatest popularity of any piece since the days of "The Belle of New York.” It is a glittering piece, full of brilliant nonsense and witty dialogue. It lias little or no story beyond the same old story Cupid whispers into everybody's ear some time or other, only insidiously prolonged and seductively portrayed. The music, which entwines itself with all the varied moments of courtship between the widow and Danilo, is of a sensuous order, very lyrical, light, and at times comrnonplaee. The comedy is not very distinct from most modern productions of its class. As far as being an aceurrate presentation of Parisian cafe life, nobody could wish for anything more expurgated. Yet, with no pretence to reality whatever, the Merry Widow, handles in a delicate way a characteristic page of the silly side of existence in the glittering sordid attractions that belong to the French capital. It is a pity that it is not possible on the stage to present them as they really are. Less people might then be inelined to air their illusions about one of the demoralised pleasure hells of Europe. The Williamson troupe are a good team. Miss Florence Young makes a capital figure and presence for the Merry Widow: Miss Fanny Dang© is as dainty as ever in her creation of Fi-fiij Mr. A. Higginson, the Prinee, tills the part with a debonair, dashing manner; Mr. Victor Gouriet eannot help presenting the Baron Popoff in the spirit of caricature the author apparently conceived him; and whilst the inimitable Percy, as Nisch. was at the top of hia talent for ridiculous impersonation. The staging is bright and full of life and movement. Everybody laughed, and most of them went away whistling the waltz. Unless some people are a little more careful, some Lionel Terry will arise in our midst and shoot the first miscreant that dares to worry the public ear further with Sonia’s distracting and seductive air. Auckland Society of Musicians. “An Evening with Edward Grieg,” the title of a very interesting programme given by this Society on the 17th inst. at their club rooms. Miss Allee Law, L R.A.M, read an able paper on "Grieg, his Life and Works,” supported by Miss Elsie Hamilton, who gave illustrations of the composer’s pianoforte works; Mies Annie Taylor, Mrs. Emily Sutherland, and Mr. C. G. Irving, songs; and Misses Amy Stevenson and Alice Law, violin and pianoforte deet, by the s.-uae

BOmpcser. The finest effect of the evening woe the Concerto in A minor, by Mins Elsie Hamilton, with orchestral Accompaniments by Miss Alice Law, erhich wan most ibrilliamlly rendered, nd evoked an outburst of applause. Mrs. Butherland’s numbers were much {ppreciated, also the violin and pianoorte duet by the Misses Amy Stevenson and Alice Law. Miss Law’s paper >—a most comprehensive one — woe listened to with the deepest Interest, and a hearty vote of thanks carried to her On the conclusion of what was in every (way a most successful evening. After (touching on Grieg’s early life, in which phe mentioned that the Norwegian composer had also a touch of Scotch blood in his veins on his fwther’e aide, and Inherited much of his musical genius from his mother, who was a talented pianist, and from whom he received his early training, Miss Law proceeded to a ptudy of his works and career. A NorIjWeglan composer, Kichard Nordraak, . who, unfortunately, died at the early Age of 23, seems to have been the first to influence Grieg in the direction which Jiis genius subsequently took. (Liszt Also encouraged him greatly, and it was . J>y his influence that the composer’s reputation was firmly established. The Norwegian Government granted him a tension, which enabled him to give up caching, and devote himeelf to composition. lie became world-famous on his production of the music to Ibsen’s great |>lay, “Peer Gynt,” incidental numbers »f which are so much esteemed on the concert platform of to-day. Having (married his cousin, a vocalist of no mean order, Grieg and hie wife paid a visit Ito London, where they had a groat, reception, both by the London Philhartnonlo Society and in the concert halls, ' performing some of his own works, his wife singing the vocal numbers. Tours of the Continent- followed, everywhere ; pvith. the same success, which continued to the composer’s death at the age ; tween forty and fifty thousand people ’ present, and an eloquent, tribute was F paid him by the performance of his ’Tn Spring,” and “Funeral March,” by string orchestra, and “Folk Song,” by Jnala choir. Wreathe were sent by the King and Queen of Norway, the German Emperor, Government, principal cities of Norway, and all the musical organisations of Europe, with a cortege of (delegates from all over the Continentnumbering 10,000 persons.

Melba and a Gas Engine, Melba filled the Opera House with people and song for the two glorious nights she sang in Auckland. It is true there is only one Melba, but there is also a gas engine as well, placed with all that Careful consideration for the hearing of the audience that they shall not miss (any palpitating throb or snort. The complaint applies to His Majesty’s as well as the Opera House, and it is a pity that the proprietors cannot do something to permit the public the right to listen to « great singer or artist without an obligato from the gas engine thrown In. It would, of course, be unfair to suggest that if either of the theatres named were municipalised, the difficulty would Soon be got over, or soma “indignant ratepayer” would want to know the reason why. Private enterprise, as everybody knows, is ever so much more -efficient than public. That is why Auckland’s tram car service stands out to Filch eminent advantage compared with the Wellington municipally-owned and Controlled system. Private enterprise, even If It Is in Auckland, ought at least to Justify its traditional claims to efficiency, and its unselfish regard for the public interest.

For quite a nutnlier of people Melba’s recitals lost all the edge they might otherwise have possessed because of the Irrepressible grunts that ascended from the bowels of the building, and distracted the grateful ears of the listeners. The opportunity of a lifetime, which if undoubtedly is to hear the groat prim* Konna, is not to lie mixed up with gratui■/ma offence from a gas engine, even if people have the privilege of paying a guinea for the treat. The price was a bit of “< staggerer" for most people, ind whether it was Justified Is anal‘smatter. The Price.

Melba la undoubtedly a great artist. Ro is Tetrazzini, Destlnn, RchumannEelnk, or Kirby-Lunn, the English conalto. At Gorent Garden one can usu»lly bear several of the great women

vocalists of the world in a season, and a guinea is a top-price for a stall from which you can witness and hear a grand opera, with scenery, music and artists thrown in at the price. Still Melba and John Ix-mmone evidently know their business best, and if the public will pay —well, who's to stop them! It is, however, not the public who pays. It is only a fortunate and limited section, who have managed to collar snore shekels than the remainder, that get to hear the great singers who want guinea and halfguinea audiences. Many people are deprived of a pleasure so rare or so inspiring because of their economic necessity. And yet we are told this is a democratic country. The Concerts. Melba’s items were on the whole characteristic of her repertoire, except that she did not give any excerpts from “La Bohemc," an opera she has appeared frequently in the last few years at Covent Garden. Iler adherence to Italian opera is traditional, as much as it is temperamental. Ono could never imagine for a moment Melba singing “Isolde” in Wagner’s three-act opera. The Teutonic schools of music she has eschewed as religiously as Frau Destinn herself has neglected the Italian. Both, in the hands of great artists and conductors, are superb, both enjoyable to an intense degiee by people whose breadth of musical temperament is such as to take in either. The marvel of Melba is the elasticity and tone of her voice; she cannot help singing any more than some people cannot help talking. It is a gift of the rarest description, and she has come to utilise it to its fullest advantage by hard work and perseverance. Criticism of individual items would be superfluous, beyond saying that her abilities are those of a great singer more than an actress. Of the company who supported her, Mr. John Lemmone stands out as the only artist of note. His flute solo and obligato work are amongst- some of the really fine things that are to be heard on the concert platforms, even outside Australasia. Melba and he in Bishop’s classic number, “Lol Hear the Gentle Lark,” reached a standard of excellence known only to the great artist. It is no exaggeration to speak of Lemmone thus: He has an art that very few flautists possess. There is a breadth of feeling and finish in everything he plays that uplifts him far above the domain of pyrotechnics. Miss Una Bourne, despite her brilliance of technique, was disappointing. Her Chopin, in fact, was almost colourless. It seemed to lack any tune or comprehensive conception of the great tone-poet. The male vocalists were both trained men, with pleasing voices, and it was possibly their misfortune than otherwise that they should have been chosen to appear on the same platform as Melba. It is a pity that the prima donna was not better supported —■ » policy that could have but little to recommend it to an intelligent musical public. Forthcoming Events—The Girls of Gottenberg. On the 3rd June the popular “Merry Widow” must be withdrawn to allow of the third and final production of the Williamson season—“ The Girls of Gottenberg.” The humour of the piece hangs round the famous Koepenick incident which made all Europe laugh some two years ago. It deals with the barber who has got into Queer-street, and hopes to better his position by becoming valet to a military prince. He eventually masquerades as a high military officer, and, posing as an envoy of the Emperor, orders the arrest of a general of the garrison. “The Girls of Gottenberg” is described as one of the merriest, most tuneful and fascinating lyric plays the stage has seen for many years. “ The Hypocrites.” Sydney audiences have been discussing the moral of “The Hypocrites,” which has proved an enormous success at the Criterion Theatre, where it has been staged by Rupert Clarke, Meynell and Gunn’s New English Dramatic Co. The same zest has been added to the controversy aa characterised the discussion when Henry Arthur Jones’ masterpiece was staged in London and New York. Naturally, there are some who contend that such skeletons as are brought out In “The Hypocrites” would be better kept in the cupboard; but were this put in practice, some of the finest moral lessons ever Imparted by stage productions would have been lost. The same argument was used la London, but the New.

Yorkers eagerly availed themselves of the opportunity to compare the manners and morals of a certain section of English Society with their own —to the advantage of the Americans, needless to say; and the two nations were ranged on opposite sides in their outlook on the great question involved in “The Hypocrites.” The New York “Herald” designated the play “a vivid bone of contention,” and it is not unlikely that it will prove to be such here, when the candid uncloaking of Society manners and morals occurs. A Fine Company. The Australian season of Oscar Asche and Lily Brayton, with their complete Company, imported from England, will open in Melbourne at about the middle of July, under the management of Rupert Clarke, Meynell and Gunn. In addition to the principals, there will be no less than 24 people brought out, as well as stage and wardrobe staffs, and an immense equipment of costumes and scenery. Three of the artists have been in Australia before—Mr. Athol Forde, Mr. R. F. Ansen, and Mr. Caleb Porter. A list of competent artists well-known in England will also include Messrs. Gerald Kay Souper, Reginald lan Penny, Herbert Grimwood, Tripp Edgar, J. Fritz Russell, Charles A. Doran, Ewan Brook, Arthur Tranton, B. A. Meyer (manager), Misses Elfrida Clement, Muriel Hutchinson, and Constance Robertson. The repertoire will include “Count Hannibal,” “Othello,” “The Taming of the Shrew,” and “As You Like It.” The four will comprise Australia and New Zealand.

A Timely Warning. The Leipsic Musical Society, one of the largest in Europe, warns parents against allowing their sons and daughters to engage in a musical career, either as members of an orchestra or as teachers. The society shows by elaborAt the royal theatre tried musicians in Germany, only 2000 make a decent living; that is, earn more than 4000 marks (£200) per annum. “Musical pupils,” says the report, “are always overworked, sixteen hours a day being •the average. When they finish their studies after years of volunteering the salaries offered are between 60 and 70 marks per month (£3 to £3 10). The highest wages an orchestra musician can earn is 150 marks per month (£7 10). At the royal theater tried musicians get 1000 marks per year ( £5O), but they can rise as high as 1850 marks per year £92 10/). The average wage is from GOO to 700 marks per year (£3O to £35).” The foregoing bears out what reliable critics have been saying for years regarding the tonal career In Europe, for the other countries are as bad a* Germany, and some of them are even worse. It will be seen from such statistics that there is an economic reason for the wholesale European musical emigration to America and latterly to Australasia, and the conditions are bound to remain the same until Europe raises her prices for artistic rem un eration. . . The Reaaaa Why.

The reason why there is no Apnerlean opera composers of renowq is very simple, sav the “Musical Courier” The/ do hot eat about their preparations cot-

rectly, and neglect to choose the proper place where inspiration may be found. Read the description of Puccini’s home for instance! “On the ehore of Lake Massaciuccoli, not far from this cltj, but in a solitude where nature Is mistress still, Puccini built for himself a retreat which he calls Torre del Lago. Its white marble walla shine in the sun’s rays with virgin radiance. Within Puccini’s home is beautiful, filled with artistic objects, books, pictures, tapestries. Every room is flooded with sunlight. The largest room, an imense apartment, has five great windows, which look out on the terrace and gardens. A corner of this room, protected by rails of carved wood, is dedicated to the melodic muse. In seeking this solitary but charming spot for his home, Puccini was influenced by his great love of sport. He is an enthusiastic hunter and a first rate rifle shot. His favourite game is water fowl, and he has rented and preserved a whole lake. In the middle of the lake Puccini has built a summer house,d in which has constructed a kind of study where he can work.” The Puccini plan has proved very successful so far as the writing of profitable works is concerned, and American opera composers are advised to follow their Italian colleague’s example and fit up at once some Torre det Lagos in their country.