Music and Drama

New Zealand Graphic, Volume XLII, Issue 23, 9 June 1909, Page 13

Music and Drama

(BY

BAYREUTH.)

BOOKINGS. (Dates Subject to Alteration.) AUCKLAND—HIS MAJESTY’S. Juno 7 to June 20—West's Pictures. June 28 to July 3— Hamilton Dramatic Company. , July 5 to July 24—Hamilton Dramatic Company. July 36 to August 7—J. C. Williamson. August 24 to September 7—Hamilton Dramatic Company. THE OPERA HOUSE. In season—Meynell and Gunn Pantomime Company Monday, -June 14—Meyneil and Gunn, ■'Helle of Mayfair” WELLINGTON.—OPERA HOUSE. In season—Allan Hamilton Company. June 19 to July 24—Allan Hamilton. July 28 to August A3—Pollard Opera Co. August 18 to 28—G. Musgrove. August 30 to September 12—J. C. Williamjson. September 14 to October I—J. C. Williamson. October 2 to 16—Allan Hamilton. October 26 to .November 13—J. C. Williamson. November 15 to December 9—J. C. Williamson. December 27 to January 16 —J. C. Williamson. WWK HALL. July 4 to 28—West’s Pictures. PALMERSTON NORTH — MUNICIPAL OPERA HOUSE. (August 4, s—Allan5 —Allan Hamilton’s Dramatie Co. August 12, 13—J. C. Williamson’s "“Jack and .Till” Co. August 27—Misclia Elman’s Concert. Sept. 20, 21—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, 18—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 8, 9 —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 18, 19—J. C. William. !. .i. ®ept. 30—J. C. Williamson. October I—J,1 —J, c. Williamson. Nov. 1 to s—Allan Hamilton. Nov. 10, 11—J. C. Williamson. “ As EngMslunAii's Home ” in Berlin. ¥ N Englishman’s Home,” when S'l produced in Berlin recently, had ttj/SL a very suggestive reception at the hands of theatre-goers in ■the German capital. Seldom had a piece Ibeen looked forward to—on behalf of the British residents in Berlinwith *io much interest as the play we are to «ee shortly in New Zealand. The Germans were not particularly interested tone way or the other, although several of the leading papers had denounced the imdertaking as unpatriotic and tactless. The house was crowded, the cast bore the names of excellent and popular artists, and the programme announced the fact that the scenery yas new for the oeoasion. The curtain went up, and the audience —the happy, well-disposed holiday one, with the customary batch of first-night critics—listened to everything attentively, laughing pleasantly’ at tames. (At the close of the first act, the applause was cordial, but intermingled with hisses from a small minority, and then the? house retired for a lengthy interval to discuss beer and the prospects of the play. Alas ft>r impressario, managers, and artists! Tlue second act produced a storm absolutely’ unprecedented in Berlin theatre annals. The exaggerated twaddle of the local Volunteers aroused the indignation to boiling-point. Stamping, cat-calling, whistles, and roars of sarcastic laughter alternated with storms of hisses; while a few cries of “Order!” were drowned. The audience acted, the Stage was mere dumb show. In the last act things looked dangerous; many people left the theatre, others yelled; ‘‘Curtain down!” “Finish!” and similar demands. Strangers shouted backwards and forwards to each other from the; galleries expressing indignation at having paid money to listen to such “rot,” and the storm continued. The customary good temper of Berlin audiences, hownver, prevailed, and the majority, fortn-

nately, took the comic view. When Mr. Brown took up a rifle, there were shout* of “Bravo!” and applause drowned all his remarks. When the Volunteers were ordered to retire, the entire house —■ shaking with laughter—echoed the order. In a word, “An Englishman's. Home” was an absolute and complete fiasco, and the sympathies of the more intelligent section of the audience went out to the unlucky artists. The piece was given again a day or two later, with, ■the same results, hut less tumultuously, owing to the smallness of the audience. What the Emperor Thought. The German Emperor has given his opinion of .the disorderly scene at the production of “An Englishman’s Home” In Berlin. The Emperor said he was acquainted with the contents of the piece. In recent years not only long articles and books had been written on the -subject of all conceivable invasion pos■fiihSitiea, but, unfortunately, resort had also been had to the stage for the embodiment of political theories. That suc!i dramatis works were bound to operate with crass anti-Germans (meaning the militarists in Britain, of course) -went without sayingj but it was well that it was so, for the ratter exacting German public was always repelled by the crass in the treatment of a matter. Moreover, it was by no means favourable to the relations of nations to one another that they should be presented on the stage in antagonism. “An Englishman’s Home” was a piece written for a certain group of Englishmen, and, consequently it was impossible that one should fake very kindly to it in Germany. The Ejection of it was therefore no more than just, and also showed that Germans were far from feeling gratification at the weaknesses of other countries which vere set before them. As he (the Emperor) knew English family life, it in no way resembled that presented in the flay. Is It Justified ? The remarks of the German Emperor are fairly pertinent and to the point. The question that has exercised the public mind in England is “does ‘An Englishman’s Home’ give a truthful and accurate statement of the case, or does it merely pander to the jingoistic in■stinets of a section of the British public, who hate anything that has the suspicion of a German taint in it?” The latter seems to be the more probable. The play is written by an Army officer. A man who by temperament takes to the military life and has its teaching developed and intensified, in his own nature, is usually deficient in what is known as humanitarianism. The demoralising effects of a war upon a nation he seems, as a rule, unable to appreciate or grasp. It is something lacking in his disposition. There may be exceptions, of course, but that does not apply to the typical military gentleman whose views on what is best for the nation, or what will take mankind a stage higher in evolution are

usually founded on very superficial and somewhat transparent reasoning. The Duke of Wellington was a notable example of a great general reduced in polities to an incompetent and utterly prejudiced mail of affairs. The reason that his fame has not readied tl»e circle of patriotic admiration that Nelson’s did was that the here of Trafalgar had the good fortune to die in the limelight of a brilliant achievement. Wellington, as a man, had many more virile and masculine qualities in comparison to the sentimentality of his contemporary. Soldier Statesmen. The man, who perfects himself in the art of killing, has neither tire experience nor the training requisite to the statesman whose aim is the intellectual and moral welfare of the race and the greatest good for the greatest number- Major Du Maurier, the author of the sensational play we are shortly to witness in New Zealand through the enterprise of Mr J. C. Williamson, belongs to a school of military thought which is identified with what the Kaiser Jias termed the “crass anti-Germans.” There is no doubt that the Kaiser, with his imperialistic chancellor and that section of the German populace, who are best known by their Anglophobia, are just as much to blame for keeping the historic hostiltiy to Germany in existence in England. That is not the point. The regrettility to Germany in existence in Englishman’s Home” is that they are written in a more or less jingoistic spirit, and are designed to act upon a susceptible public imagina-fion purely in the interests of party politics. So far as England is concerned they must stand on their merits. But when they are imported to the colonies, bringing with them their class prejudice and political leanings, it is time something was said to reveal to the more thoughtful side of the New Zealand public the real character of such a production. A Word on Patriotism. This is not written out of any unpatriotic spleen or anti-imperial spirit. There is no country in the world which has such a healthy spirit of patriotism and belief in the higher aims of Empire building as New Zealand. As a patriotic Maorilander, I do not want to see that spirit taken advantage of by a play of such an insidious and misleading character as “The Englishman’s Home” unquestionably is. It is by reason of its sensational staging and theme, bound to draw large audiences in the Dominion, and no doubt work uponlho public imagination as it has done elsewhere. From the purely dramatic point of view it is no doubt a fine draw and nobody ■wishes Mr Williamson success in his venture more heartily than I do. But as a piece of political party propaganda ft will be hard to find its equal. A Different Seri of “ Play With a Pnrpose.’’ London has lately been stirred by a play of an altogether different, and if I might say so, superior, class to “Aj; Englishman’s home.” It is entitled, “The Earth,” written by J. B. Eagan, and presented by Miss Lena Ashwell and Mr. Otho Stewart at the Khigsway Theatre. The Kisgsway has been a remarkable success since Lena Aehwell took it in hand barely three Tears

ago. and presented a < .rse of play whieh on the wttool© ha* eangiht the more thoughtful side of Ixnidon theatregoers'. There are always intellect and interest in any drama presented at the Kingswny, and "The Earth’’ ie no exception fro the rale. It is an energetic protest against the modern system of the ownership of numerous newspapers by one proprietor—a “jonrnalhstio Trust,” ns one of the characters describes it. Mr. Fagan, for the purpose* of hie play, rather exaggerates the power of the daily Press and of the pluralist proprietor. But lie makes effective use of what we may call the “Parnell motive,” already employed in “The Bauble Shop” and “Waste.” “The Earth” is a deeply interesting, strongly seriorw, and entirely “up-to-date” and vitally important piece, dealing with a social problem in earnest and masterly style. “The Earth” is avowedly a “play with a purpose,” a dramatic satire, and a “showing up” of alleged abuses. The author of “The Prayer of the Sword” la very hitter indeed against the alleged tyranny of the newspaper Trust. The Menace of the Trust. To understand the object of the play, it is necessary to know that -the Pr-ees of London and Manchester has passed largely into the hands of two large commercial combinations, at the head of which is Alfred Uarmeworth, now Laid Narthcliffe, on the one hand, and Sir Arthur Pearson on the other. The tactics of both combinations Iraue broken down a good many of the. earlier traditions of the British Frees, and their daily ptiblicatione have been <Sbeignated at times "yellow journals." Whatever may be the character of ti» papers themselves, the proprietors have brought about more or less what- as known now as a Trust movement »• British journalism. It. is against that the author has directed his attack. The Sfrery. The “combat” of the drama is betw'een Sir Felix Janion, a rich newspaper proprietor, and the Rt. Hon. Dar zil Trevena, a philanthropic MLP., whose Wages Bill, which has for its principal object the prevention of “sweating,” ie about to be presented to the House of Commons. Janion is strongly opposed to the bill, which, he says, will cause a “commercial ciiaoft,'* and is using all his influence to get the Government to “drop” it. Uufortttnately, Trevena is carrying on an intrigue with the wife of an inebriate and impecunious Irish nobleman, the Earl of K ill one; and Janion, through a French window leading to his lawn, sees them embracing. He immediately orders his henehman, Michael Dickson, to have the guilty pair watched; an<i the result is that Janion tarns up at Trevena’s ehaanbers in Queen Anne’e Gate, armed' with complete evidence of the misconduct of the parties, ‘‘i nlatw you promise me that your will nliendoa the bill,” he says to Trevena, "I shall go at once to Lord iKTIone and give him this information. He will immediately institute proceedings for a divorce. av 4 your career will be at an end.” Trevena is willing to risk political extin©, tion, but he shrinks from the sham*

which will fall on Lady Killone, and promisee to withdraw the bill. The last act takes place in Janion’s offices in the East End district of London. Here the author indulges in some humorous exposures of the methods of the “new" journalism, a Btory which is found to bo too broad for a religious journal owned by Janion being transferred to another publication called “Happy Homes.” Janion has already announced in his paper the withdrawal of the Wages Bill, and is exulting in his success when Lady Killone calls, and, in a passionate scene, endeavours to soften his heart. Janion is proof against her entreaties, and ■when Treveua arrives he holds him to his bargain. Lady Killone protests earnestly against the sacrifice of the bill to her interests, and finally, as a last stroke, says that unless Janion will withdraw the announcement of the abandonment of the bill, and unless Trevena promises to continue his advocacy of it, she will make her sin and Janion’s mean action in the matter public. Janion cannot face the risk of exposure, and gives in; and the Wages Bill is gone on with after all. The Truth About Caruso. Caruso’s condition has been the subject of much discussion in operatic circles since his recent indisposition began. This moved the New York Metropolitan Opera Company to make reply, and the management issued this statement: “In order to set at rest the misleading rumours about the vocal condition of Mr. Caruso, the manag ment or the Metropolitan upera House announces that his non-appearance is due to the fact that he is taking a brief rest. Mr. Caruso is acting in accordance with the wishes of his physician, Dr. H. Holbrook Curtis, who states that the tenor is suffering only from a slight attack of laryngitis Mr. Caruso has informed the management that he will surely sing before the end of vhe season.” Caruso’s Opinion of Himself. ■ln view of the fact that he has been Buffering from nervous exhaustion, it is interesting to recall Signor Caruso’s own opinion of his art, as given in an article by him in a foreign newspaper. “ Nervousness seizes me,” he wrote, “ and the anguish of it aJone makes my voice what it is. There is no personal merit in the matter. This fever of fear transforms itself for the public into mysterious and moving effects; but let the public know that Caruso on the boards is no longer Responsible for the pleasure he may give, and that all the credit for that is due to the great god Funk.” While no one will agree with Caruso’s modest estimation of himself, the above-quoted words show the tremendous and continual nervous strain to which a leading operatic singer is subjected, and cause one to wonder less when a breakdown comes to cause a retirement from active work. Happily, in Signor Caruso’s case, a complete cure is almost certain, and when he next makes his appearance he is assured of a phenomenal reception. The Praise He Prizes. “ Caruso is a great artist,” a critic has Written, “ of that there is no doubt—but aside from his place in the lyric world, he is a funny little man who turns a child’s serious face to the big outside world.” It is just because he is a "funny little man,” with the most genial of natures, that the tenor is so popular. While he was staying in Naples some time ago, he was almost idolised on account of his bonhomie. He would enter a little restaurant and sing in the most glorioua manner, between the courses, songs for of pounds. The cook used to come from his kitchen, the padrone from his office, and all the women folk of the place from their various occupations, and would stand round enraptured, and sometimes with moist eyes, listening to the wonderful notes. After the applause one day, Caruso turned to a friend, saying “That is the praise I prize. If I ean draw tears from the eyes of the man who cooks my macaroni, then I am sure I am in voice. .Women will weep because it is Caruso Who sings, but the cook will only do so if his heart is really touched.” A Narrow Escape. Like most artists who have afterwards Achieved fame, Caruso met with a great deal of parental opposition to his desire to become a singer. Indeed, Caruso senior, absolutely forbade, his son to go to the theatres at all, which caused the future tenor to resort to many subterfuges. One day Enrico came near to bo-

ing drowned, through trying to find a two-franc piece to pay for hie admission to an opera he particularly desired to see. His sister, who sided with his father, had thrown the money on to a table in a dark cellar. Young Caruso jumped into the cellar after it, upse-t the table, and went splash into a well, the existence of which he had not known. Luckily, the table fell in too, and helped him to keep afloat. When his father heard of the accident, and learned that there was no read danger, he told the bearer of the news to let Lis son stay in the water a little longer. Eventually Enrico was rescued, in a pitiable condition. “ But,” says he triumphantly whenever he tells of the incident, “ 1 got that two-franc piece!” “ That's London !” The tenor has told an amusing story of one of his London experiences. “ One evening in London,” he said, “ I was dressing for ‘ Pagliacci,’ a man walks into my room, taps me on the shoulder, and says: ‘Give me £140.’ I look at him and ask: ‘What for?’ He replies: ‘lncome-tax.’ I say:»‘Come again; £ haven’t got the money.’ He show me a warrant for my arrest. The manager pays the man the money, and what do you think the man says? He says: ‘Now I’d like to have a seat to see the show.’ And he gets it. That’s London!” Madame Tetrazzini. Madame Tetrazzini, whose recent illness caused a great deal of anxiety among her numerous friends, is one of the most remarkable singers alive, and her reception by the London critics and public, when she made her first appearance at iCovent Garden, was almost phenomenal. (She may be truthfully called Melba’s rival. The great singer’s life story is extremely interesting. Born in Florence, she comes of a very musical family, and from the time when she was quite a child she loved singing. Her desire to become a vocalist was resented by her mother, but at last she was allowed to study at the Lieeo Musicale in Florence. When Signor Cecherini, who had taught her elder sister, heard her sing, he turned to the examiners and said, “Why, this is an artist; she is not a little girl at all!” Later on Tetrazzini made her first appearance at the Teatro Verdi, in Florence, in Meyerbeer’s “L’Africaine,” and after singing in many roles in Madrid, Lisbon, St. Petersburg, ete., she came and conquered London in 1907. Madame Tetrazzini’s favourite part, by the way, is Lucia in “Lucia di Lammermoor.” The Penalty of Fame. Naturally, Madame Tetrazzini has been unable to escape from the numerous trials that invariably beset those who have climbed the ladder of fame. She has received probably more letters making strange requests from unknown admirers than any other prima donna, and the demands for her autograph have reached many thousands. One of the most curious letters she received was from a man who sent her some wrist-cuffs with the request that she would write to him “telling me their faults and their good points, and, in fact, all you think of them.” He ended his epistle by stating, “I have a guitar 200 years old. Would you buy it? You would easily learn, and could accompany yourself on the stage with it.” Another unknown genius asked madame to set up as a music publisher with him—she to supply the capital, while he would write the songs and music. His surprise when she declined the offer was almost pitiful. One of the most extraordinary of fame penalties in Madame Tetrazzini’s case was the report which was circulated some time ago to the effect that she was a kind of second “Trilby,” who could not sing unless she was hypnotised. Of course, there was not a shadow of truth in the statement, and madame said that she did not believe in any form of hypnotism, except that emanating from the audience. Saner's Narrow Escape. Emil Sauer, one of the finest of living pianists, who played with great success at a philharmonic concert in London last month, had a very narrow escape from gas asphyxiation late in the month of February. He was sleeping at the house of a friend in Bordeaux, where he was play on the afternoon of February 21. During the night Mr. Sauer awoke with a feeling of suffocation, and had only just sufficient strength to leave his room and call assistance. It was then discovered that the “geyser”— a gas machine for heating water—in the

bath room adjoining Mr. Sauer's room had developed a leak, and it was really, a great miracle that Mr. Sauer was not overcome by the fumes. Auckland Orchestral Society. The second Orchestral concert of th* Season was given on Thursday to a crowded house, which afforded ample proof of the undeniable popularity of these concerts, and the good work of ■the Society, under the conductorship of Herr Wielaert. The best number of the evening was the Symphonic Prologue to Shakespeare’s “Othello” (Arnold King), which was given a realistic rendering in the portrayal of the unreasoning jealoiiby of Othello, the protested innocence of Desdemona expressed in a beautiful melody for the oboe, and the horror of the bedchamber scene, where after stifling his wife, Othello becomes aware of her innocence and stabs himself. The orchestra obtained some fine climaxes, their rhythmic work being particularly good. The clarionet players deserve especial praise. The “Funeral March” of Chopin was take at a quicker tempo than we are accustomed' to hear in the readings given by celebrities who have visited these shores. It was robbed thereby of some of its impressiveness. This march, originally written for the piano as a movement in the great B-flat minor Sonata, was afterwards orchestrated and played on great occasions of state, notably at the funeral of Her Majesty, the late Queen Victoria. The Society achieved a much better result in the “Leonora No. 3” overture of Beethoven, which received a dramatic rendering, and excellent ensemble. The first violins showed some finished work in what was a wholly impressive number. In some of the other items the renderings were faulty, and the leading strings were not supported by the other instruments in the excellent manner evident on former occasions. In the “Impromptu” of Schubert arranged with doubtful advantage for strings, and the familiar “Air for G string” (Bach), there seemed to be some little misunderstanding between the organ accompaniment and the strings. The only soloist of the evening. Mad'ame Wielaert, was in splendid voice, and scored a pronounced success in her first number, Becit and Bomance for “Mignon” (Ambroise Thomas), “ The Belle of Mayfair.’’ The production of “The Belle of Mayfair,” which enjoyed a run of over four years in England, was successfully made by th© Meynell and Gunn combination at the Opera House last week. Its popularity as a musical comedy is undoubtedly deserved. The music, by the well-known composer Leslie Stuart’ of “Floradora” fame, is bright, sparkling, arnd original, with catchy songs. The dresses were imported from London and Paris, and the audience is introduced to the fashionable world of Mayfair, with all its gaiety and glitter. The charm of the production lies in its superb mounting as much as in its wit and haunting melodies. The artist’s hand is revealed in every detail. Incidental to the piece are a number of novel features, of which the famous Gibson Girls and “Merry Widow” waltz are not the least among many alluring items. forthcoming Productions. The concluding six nights of Messrs. Meynell and Gunn’s successful English comic opera season at the Opera House will be devoted to the first production in New Zealand of the original Dutch cbmic opera, “Miss Hook of Holland.” The piece attained a phenomenal run of 400 nights in London, whilst it enjoyed equal popularity in Melbourne and Sydney for 11 weeks each. The music is by the well-known composer Mr. Paul Bubens, and the words by Mr. Austin Hurgon. “Miss Hook of Holland” is described as a great Dutch comic opera, and as such is said to be full of quaint melodies and harmonious choruses. The present principals, who are appearing With such marked success in “The Belle of Mayfair,” will sustain the following roles:—Mr. William Cromwell, Slinks, a loafer; Mr. Edwin Brett, Mr. Hook; Mr. Harold Thorey, Bandmaster Van Vuyt; Mr. Tom Payne, foreman of the Distillery; Mr. Phil Carlton. Captain Paap; Miss Buth Lincoln, .Sally (Miss Hook of Holland); Miss Emmaline Orford, Mina; Misses Essie Perrin and Dora Denton, Frela and Clara Voos, etc. The first act takes place in the Market Place on the borders of the Zuyder Zee, and the second in the Distillery at Amsterdam.