Music and Drama.

New Zealand Graphic, Volume XLIV, Issue 22, 1 June 1910, Page 14

Music and Drama.

By

BOOKINGS. (Dates Subject tn Alteration.) AUCKLAND—HIS MAJESTY’S. May 3<» to June 18 — “The Night of the I'arty” June 20 to July 6 - Grand Opera Co. July 7 to 16 —Meynell and Gunn. July 18 to 31 —Hugh J. Ward. .'August 1 to 13—J. C. Williamson. September 1 to 3 — Auckland Boxing Association. September 5 to 24—J. C. Williamson. September 2G to October 19 Allan Hamit ton. October 20 to November 4--Fred Graham. THE OPERA HOUSE Ju Season—Fuller’s Pictures. WELLINGTON.—OP’S R A 11 OUSE. Blay 19 to June 3.- J. C. Williamson. June 4 to June 18 —Allan Hamilton. July 4 to July 23. -Clarke and Meynell. 1 to August 13. Hugh Ward. jSept. 1 to Sept. 14.—J. C. Williamson. Oct. 7 to Oct. 26. J. C. Williamson. Oct. 27 to November 5. — Allan Hamilton. •'iNor. 12 to November 24. Fred 11. Graham. {December 24, six weeks’ season.—J. C. Williamson. THEATRE ROYAL {Vaudeville (permanent). Sliaw in Defence o* 6 / y WAR has been raging in the corf | respondence columns of “The Nation” regarding the value of Strauss’ “Elektra.” The more enlightened people accepted the work at once! The combatants are Mr G. Bernard Shaw, whose defence of Strauss in his “The Sanity of Art” is a splendid piece of reading, and Mr Ernest Newman, critic and author of numerous books on Wagner and one on Strauss. “We side with Air Shaw,” says the “Musical Standard.” “How can we possibly side with Mr Newman, apart from, for instance, what he wrote for ‘The Birmingham Daily Post,’ concerning the Strauss opera, when he is the author of the following lines in ‘The Nation’ of ■•'April 2? ‘Strauss is degenerating into a bad and careless builder. Mr Shaw may object to the phrase, but 1 repeat that it is ridiculously easy to put a score together as Strauss now does for pages at a time—flinging out a leading motive of thro. or four bars’ length, and then padding unblushingly for twenty or thirty bars until another salient motive can be introduced.* A letter by Air Shaw appeared in the issue of April 2 also. The opening lines are particularly excellent; 'Just a last word with Air Newman. I make no apology for bullying him: the result has justified me. I leave it to your readers to say whether I have not wakened him up beneficially, as well as put a very different complexion on the ease of Strauss and “Elektra.” The anti-Strauss campaign was so scandalous that it was clear that somebody had to be bullied; and I picked out Mr Newman because he was much better able to take care of himself than any of the rest. Most of them T could not have attacked at all: as well strike a child or intimidate an idiot. I will now repeat my amus’ug performance of knocking Mr Newman down flat with a single touch. He asks me, concerning a certain theme in “Elektra” to look at it honestly and tell him whether it is not banality itself. Certainly it is. And now will Mr Newman turn to the hackneyed little ‘half close” out of which Handel made the “Hallelujah Chorus,” and! tell me honestly whether it is not. —and was not even in HandePs own time—ten times as Inin al as the (. hrysotlimnis motif? Strange how these men of genius will pick up a common-place out of the gutter and take away our breath with it; and how. as they grow older and more masterful, any trumpery diatonic run or such intervals of the common chord as have served the turn of thousands of postboys, dead and alive, will serve their turn, too! Fancy trying that wornout banality gambit on an old hand like me!’ These sentences show impressive insight. Air Shaw’s criticism, unlike Mr Newman’s, does not annoy us: we find much happiness in its truth—and admire its open-mindedness. lie was •ver a most convincing, non fastidious music critic.*

BAYREUTH.

Strauss in London. Dr. Richard Strauss has been in London lately conducting concerts with remarkable success, lie appears to have made a deep impression on a number of critics. “Whether the presence and the personality of the composer inspired the orchestra to great things, or whether Dr. Strauss possesses a mysterious impelling power that is not too obviously revealed in the quiet, unobtrusive methods of conducting he adopts, it is safe to assert that no liner performances of the tonepoems, ’Don Juan’ ami ‘Tod und Verklarung,’ have been heard in London than those accorded the large audience that attended the Queen’s Hall Symphony concert yesterday afternoon,” remarks the “London Observer.”

“Composers, we know, are not always the best interpreters of their own works; it has frequently been stated that Strauss himself does not invariably get the best out of bis magnificent orchestral compositions; and that, indeed, he was, without, labouring the point, a somewhat indifferent conductor. But the fact was made emphatically evident yesterday that Strauss, after all, knows more about his own work, ami what he requires of it, than any of those otherwise splendid artists who confine their energies and musical enthusiasm to the function of interpretation pure and simple. One has, of course, in view of their frequent performances, been under the impression that ‘Don Juan' and ‘Tod und Verklarung’ are familiar things. After yesterday’s revelation one can certainly conclude that they- are nothing of the sort. And a standard of performance has been set up that will lx; difficult of approach in the future.

Great Admirer of Mozart. “But it is not in the intimacy with the children of his own creation one would prefer to judge Strauss’ standing among the great conductors of our time, and we were given the opportunity in the same programme of testing his affection for the work of one of his great forerunners. Mozart’s ‘Jupiter’ symphony, as we have been accustomed to hear it, has ever appeared much on the same level at the hands of various skilled interpreters. The severely classical, the chaste and artistic, the intelligent and appreciative styles, are all familiar, and the various performances on these lines result, in effect, in pretty much the same sort of thing—one is almost as satisfactory as the other, according to your state of mind or your particular temperament. But for sheer affection, warmth, and instinctive sympathy, Strauss easily showed in his interpretation that he was peculiarly and delightfully susceptible to the love of children. Their prattling is his, their gaiety is his, their simple sentimentality is his, and their earnestness, big with the anticipation of their future importance in the world, is also his. And this spirit, it seems to me, is the only approach to the interpretation of such a work as Mozart’s ‘Jupiter’ symphony that is admissable fol truth and appeal of expression. Strauss has shown us that he is not only the greatest composer of his time, but that lie is an unequalled artist in his appreciation of all those influences that have made for his own greatness."

The London Repertory Theatre. At the Repertory 'Theatre (Duke of York’s), which has now been in existence for four weeks, six plays, all new, have been produced. 'Three of them aie in one act and from one bill, so that it may be said that there have been four new programmes. The plays are “Justice” (Galsworthy), “Misalliance” (Shaw), “The Madras House” (Granville Barker), and (forming the triple bill) “Old Friends” (Barrie), “The .Sentimentalists” (Meredith), and “The Twelve-Pound Look” (Barrie). Of these, far and away of most value is “Justice," a play which throws upon the stage a vivid picture of English procedure in dealing with criminals, and one which will probably be read this year by Hie Auckland Shapespeare Society. Although it contains too much photographic realism to be of any great value 'as a work of art, it serves a fine purpose if true (und there is not the slightest reason to doubt it) in bringing before the public such an indictment of the prison system. Mr. Galsworthy does not preach, he tells his story coldly, and leaves his audience to draw their own

conclusions. It is a splendidly made play, full of interest and perfectly acted. “Mis' alliance” would probably never have been produced at all if it had not been written by George Bernard Shaw. Those who like Shaw’s work—and most playgoers profess to do nowadays—derived great amusement from this “discussion,” but it is of little value. Glancing at the list of plays and their authors mentioned above, the curiosity of those more or less deeply interested in thie affairs of the stage would probably be greatest about Mr. Granville Barker’s new play, “The Madras House.” During the last few years Mr. Barker has made a great reputation as a producer (or stage-manager) of plays, and a considerable one as a dramatist. The Vedrenne-Barker management at the Court Theatre madia history. Reputations nowadays, however, have tu be sustained, particularly in the theatrical world, or they quickly fade. Far from sustaining his reputation with “The Madras House,” Mr. Barker has, according to some critics, diealt it a severe blow. There is no satisfaction in this “comedy”! for over three hours one sits and listens to clever, superficial, aimless talk. There is no story (a doubtful objection) there is little interest (which is serious), and one’s attention is constantly being switched from one subject to another. There is no continuity of interest, frequently there is boredom. Frankly, “The Madras House” was quite unworthy of production (says a sincere critic). Of the triple bill, the only play of any value for stage purposes was “The Twelve-Pound Look,” a really brilliant little comedy; quite a masterpiece. “Old Friends” was evidently unworthy of Mr. Barrie and an institution such as the Repertory Theatre ought to be, and “The Sentimentalists” made a fine bit of literature but a poor bit of dramatic literature. All the plays have been splendidly placed upon the stage, and the acting throughout has been practically beyond criticism. For a week or two there will be no new productions, and a little later on revivals are promised of, amongst others, “Major Barbara,” “What Every Woman Knows” and “The Silver Box” (Galsworthy). Bells, Bells, Bells.

Has it ever occurred to Auckland or Wellington citizens how very much out of tune the town clock and church bells are? You have only to listen to the Post Office chime in Wellington, or if in Auckland instead to throw open your window on a Sunday morning blest with peace and calm and wait for the call to Kirk. Then “the tintinabulation of the bells” begins. I listened only last Sunday in the vicinity of the Auckland Public Library to the church bells clamouring with each other in the peaceful morn with almost a semitone between them. The discord was bad enough, but when tb/3 Library clock banged in on the stroke of eleven a semi-tone lower again, I hauled down the Rev. H. R. Haweis’ delightful book “Music and Morals,’’ and re-read his chapter on “Bells and Carillions,” with a vast amount of sympathetic interest.

Curiously enough news by the mail brings an account of a lecture on the musical state of the bells in London. A speaker at the Royal Institute recently, spoke very disrespectfully of Big Ben and his companion bells. It was deplorable, he said, that in one of the most important buildings of the kingdom such bells should be used for the enlightenment of the British public every 15 minutes of the day. It might well be asked, “Are we a musical people?” when such discordant sounds were allowed to pass as musie. He sincerely hoped that the day was not far distant when the proper authorities would take the matter in hand by recasting the whole of.the bells and seeing that they were not only sound castings, but perfectly tuned, before they were fixed in the tower. The tone of Big Ben itself was not so good as it should be. It had been badly used, as nothing but serious injury could result from the cutting of the holes in the sound bowls. It was said that the holes were cut to ascertain the extent of the crack. The holes and the crack, apart from any other considerations, seriously marred the tone of the bell. The Origin of Bells.

The origin of bells, said the lecturer, was one of the mysteries of bygone ages. Although they were found in almost every country in the world we knew nothing of their invention. There was a most erroneous idea that silver improved the tone of bells. Silver was not good either for tone or for strength of metata. The error had been constantly

made in encyclopaedias and aueh works for centuries, and was still being repeated. Until within the last few years bells in England were tuned on one tone, while those of Continental founders’ had long been tuned on three tones.' In the most improved system, a tuning machine was used which was, in fact, a special' form of lathe by which tuning on five tones with great accuracy was now practicable. Diagrams were thrown upon the screen showing some historic bells, among them the famous bell of ii-r£urt (Germany) of the fifteenth cenvniy -nd famous English bells of the seventeenth century at Laven.ham and four of the largest bells of the Exeter Cathedral peal.

A Sweeping Indictment. The Rev. Dr. Gibb, of St. John’s Church, Wellington, recently went “the whole hog” in denouncing the stage of to-day in general terms. “They had,” he is reported to have said in a sermon, “plays which represented (and only too truly represented) a large part of the modern world as a kind of polite Sodom where the intellect is almost exclusively occupied with the frailties of men and women, and where lust had usurped the place of love. They had a larger number of brainless and brazen-faced women earning a living on the stage by the display of their charms and their wardrobes than ever before in thee history of dramatic art.” All this is very sweeping—too much so, in fact, to be regarded, seriously. 1 wonder if Dr. Gibb has read anything about the state of the stage, in the reign of Charles 11. or George HI? If he has, and realised what its profligacy was, it would be very interesting to know how he acquired the necessary facts on. which to base such a tremendous indictment of the modern stage. If is generally accepted nowadays that the morality of the stage has improved, -but apparently the rev. gentleman thinks otherwise.

Mixing Up Names. Recently a London critic was at the Albert Hall listening to Berlioz’s work, and observed that a lady, a latecomer, who sat in front of him, was in difficulties with her music. In a few minutes she turned round and begged for help in finding the proper place. A hasty glance at the copy compelled the diffident explanation in an undertone that it was the wrong music, and that the composition then being performed was by Berlioz, and not by Gounod. A blank stare conveyed only too poignantly that the explanation meant nothing to her mind; any other “Faust” than Gounod’s was inconceivable. •No doubt if the pre.sent writer diwells at all in her recollection it as a dullard who could not find the place for her! The joke seemed too good to be lost, and so it was sent to the then editor of the “Musical News,” and by him inserted. Apparently it has just secured a new lease of life, thus exemplifying the truth of the adage that nothing is harder to kill than a joke. Some time ago we received a letter from a correspondent desiring to be informed! whether it was a well-established fact that' Tschaikowsky; the great Russian composer, was dead, as he was informed that he was really alive and ni prison, awaiting his trial for agitating against the Czar’s Government. This Tschaikowsky was, of course, the gentleman who was brought to trial and acquitted a short time ago, and therefore we were able to assure our correspondent that the report of the composer’s death, unlike that of Mark Twain, was not “greatly exaggerated,” but had indubitably occurred at the date usually given in books of reference. A mix up is .sometimes made between the two Strausses, Johann, the “ Blue Danube ” waltz writer, and Richard, though in these days of “ Elektra ” fever one would almost have thought no confusion was here possible. Mr E. A. Baughan, of the “Daily News,” has. however, placed it on record that during the season at Covent Garden an old gentleman inquired of his wife whether Strauss were one of the Viennese Strausses. “No, my dear,” said she; “you are not going tb bo amused, if that is what you think.” She had a cruel anlrtle tongue, that lady.

A Leading English Tenor. John floated is regarded as one of the finest tenors in England. He is a light, open-hearted, big-framed Yorkshireman, brimming with good nature and humour. The man’s personality permeates itself through his singing. He has recently appeared in London. The “Musical Standard” is enthusiastic over his concerts! “No contemporary singer is more representative of the best grade, of English musicianship than Mr, Coates. He po*>

•esses refreshing breeziness and vigour; and his abundance of sentiment ie well salted with humour. That fine robust voice of his may laek the velvet quality of a Southerner’s voice; but it is used just as it should be, to give fresh, not too subtle, but heartening pleasure to every listener. Mr. Coates had the capital idea to compose the programme of his concert at Bechstein Hall on April 9 of “old and new settings of Elizabethan and seventeenth century lyrics.” No one English could refrain from taking delight in these songs, sung, as they were, by one who thoroughly appreciated them and enjoyed singing them. Nothing in our literature is more essentially English than the sentimental yet breezy lyrical poetry of the Elizabethans, and the succession of composers who have adorned these poems with music has produced a mass of work which has an indisputably national flavour. Hearing so many of these songs together one realised quite strikingly how distinctive were the spirit and the idiom. It is pleasant to notice that this pleasant music was cordially—and more, enthusiastically appreciated. Song after song had to be repeated.”

“ For Heaven's Sake, Shut Up !” The human gramophone has been again in evidence. This time it is the Grand Opera season in Wellington that has suffered. It is an amazing piece of conceit on the part of some people who imagine the audience has come for- the express purpose of hearing them discuss their private affairs whilst the music is in progress. Unfortunately, the public sometimes realises in sorrow and indignation that such is the case. It seems that the essence of vulgarity is born in some people, and nothing short of a Maxim silencer Will compel them to realise that talking, or, what is worse, surreptitious and sibilant stage-whispers, are absolutely unpardonable when an artist is singing or an orchestra is playing. Dr. W. Kington Fyffe, one of Wellington’s best-known organists, has been moved .to protest in the Press, as follows: “May I, through your columns, make an appeal to the Wellington puplie? In the 15 years that I have lived here we have never had such opera as we are at present enjoying. The orchestra, conductor and singers are above reproach. Is it then too much to ask the audience not to talk whilst the opera is in action, and, above all, not to talk whilst the orchestra is playing during the introductions to the several acts? I Nave been present every night but one since the opera begin, and on this night (the 24th) the talking nuisance was worse than on either of the preceding. Surely the least our public can do, if they have the slightest knowledge of what good music is, is to show their appreciation by remaining •silent. I regret to say that it is in the dress circle that the nuisance is most rife. It was almost impossible to hear the magnificent introduction to the third act of ‘Butterfly’, last night by reason of the buzz of conversation. Cannot Wellington try and emulate Bayreuth ? At the first note of the orchestra there is dead silence, which is never broken to the end of the act. We do not go to the opera to gossip, but to hear good music. Puccini’s music is the last word in opera. Can we not give our homage to one of the great masters of the a ge hy at least not talking when we are listening to such a masterly interpretation as is now being put before us?” Just as a reminder to thoughtless people who want to prattle on these occasions, it would lie as well if placards with the words lettered big, “Silence, please!” were put up on either side of the proscenium before the overture or the introductions to the different acts were commenced. Politeness, of course, is a necessity above all things, but should the placard fail, possibly a cinematograph set to work with a stronger legend dancing on the curtain might have the desired effect. The words to be employed might run, "For Heaven's sake — shut up! ” Flay Readings in ApcPland. The Shakespeare Societies’ season is upon us, and the air is full of readings. The Ponsonby Club,'under the leadership of Professor Maxwell Walker, has already made a start and opened an ambitious season with a reading of “Romeo and Juliet” at the Leys Institute during the week. It was a bold venture for an amateur society to aspire, to the heights and depths of the rarest and most exalted love tragedy of the. (Elizabethan era. Fince the Society is endeavouring to satisfy the taste which soars above musical

comedy and melodrama, the reading ought iiot to be handled too critically.

It is to be hoped, however, that the productions promised in their syllabus will have more opportunities for rehearsals. It was on the whole a very fair reading for a young body. Many of the readers were enthusiastic and eager to excel. Some had taken evident pains to make themselves thoroughly familiar with their lines. The performance was to be appreciated it for no other reason than it brought into prominence the talents of a charming ’‘Juliet” in Miss Bertha Jackson, and a vigorous “Mercutio” in Mr. A. J. Black. Auckland is unfortunately to lose the services of Miss Jackson for an indefinite period. She leaves shortly for the Kast Coast to make a prolonged stay with her sister. Considering the difficulties of pitching the voice in a small hall, packed with people, she did very well. To her reading was given the charm of a sympathetic personality, and although her tragic moments may liner moments of the character with true not have always been convincing, she succeeded in interpreting many of the histrionic talent. Mr. Black used his well trained and sonorous voice with effect as Mercutio, and like Miss Jackson was heartily applauded for his strong reading of the part. Of the rest the Romeo of Mr. Graham was neither elastic in voice nor rendering, whilst Mrs. Forsyth did well ‘ and vigorously as the nurse. The next reading will be that of Moliere’s “Le Bourgeois Gentilhomme” followed in order by “The Dolls House,” one of Ibsen’s more transparent dramas, “lole,” a romantic drama by Stephen Phillips, Charles Hawtrey’s farcical comedy, “The Private Secretary,” “Timon of Athens” (Shakespeare) and “The Sunken Bell,” a modern German work by Gerhardt Hauptmann of whom 1 shall have something to say later on. The Auckland “Shakspere” Society. The programme of the Auckland “Shakspere” Society shows a very promising selection under the direction of Mr. J. F. Montague. “Much Ado about Nothing., is announced for the opening night, whilst plays for the season will be chosen from the following: “Richard 11I.,” “Hamlet,” “Major Barbara” (Shaw), “A Florentine Tragedy” (Oscar Wilde), “A Doll’s House” (Ibsen), and “Justice” (Galsworthy). A performance of Henry Arthur Jones’ Comedy, “The Liars”—-a radiant slice of satire—is also to be given without book or note. Exclusive of the Shakespearean readings, the list of plays are all modern. “Major Barbara” is regarded as the greatest of Shaw’s writings. “The Florentine Tragedy” is a characteristic piece from the pen of one in whom genius dawned and society damned, whilst “Justice” is already referred to in this issue. “A. Benevolent Despotism.” A Shakespeare Club on the lines of the Dunedin —not the Auckland Club—has been formed in Gisborne. The reason for the choice is not far to seek. One of the promoters at the meeting called for the establishment of the club said that “The Auckland Shakespeare Club was run more on the lines of a benevolent despotism than of a properly constituted club, and it would be better to form a club under rules similar to those prevailing in the larger centres of the South.” If the propriety which constitutes an Ideal Club is founded on the notion there is wisdom in a multitude of amateurs, I hope the Gisborne Society will not be disillusioned. A benevolent “despot” is a very necessary institution in a democratic community. One intelligent leader is worth a heap of nonentities. The Ellwoods. The charming trio of children. Harry, George and Polly Ell wood finished their season in Auckland on Saturday night and went on to Wanganui. Before the season concluded the recognition of their qualities had passed from house to house, and towards the close large audiences came to hear them. They lose none of their attractiveness by closer acquaintance. More than ever they stand out as children of promise. It is a far cry to fame in these days, but the Ell woods are on the right road. They richly deserve the contact with European methods ami achievements. There is every probability of their making a return visit to Auckland at the end of the present, month, before their projected pilgrimage to the older world is decided upon.

Mostly Farce and a Fine Comedian. “The Night of the Party,” presented by Mr. George Willoughby, under the direction of Messrs. Clarke and Meynell, has reached Auckland, and is now playing to full houses. It is mostly farce with but little comedy—Mr. Weedon Grossmith obviously created the leading part, “Crosbie,” for himself, and for the Australasian productions he chose an excellent substitute in Mr. Henry James. The first act opens with a somewhat prolonged and stagey conversation between Lady Hampshire and Mr. Frank Frayne to no other purpose than to demonstrate her ladyship's very obvious predilection for the young man’s company in his flat in preference to that of her husband. After this interlude the act becomes bright and full of action, and culminates in an excellent curtain. The second act is not so spontaneous and the story lor>es something of the plausibility only to take a new lease of life and laughter in the third act. The latter is certainly the best, and the farce, true to convention, ends like all farces, the misconceptions smoothed away, the erring lady restored to her jealous husband and the inimitable Crosbie forgiven his escapades and retiring in a halo of romance to the seclusion of a village pub with Pauline •for partner. Mr. David James is an accomplished comedian with all his qualities admirably under control. He quite realised and at times exceeded the anticipations that heralded his coming. Mr. Hugh Bucker (Frayne) and Charles Willoughby (Mr. Flambert) are the only other two male members of the Company whose characterisations of their respective parts were conspicuous in merit. Miss Mab Paul an Gipsy Vandelier, a lady of uncertain quality and equally uncertain address, gave a robust and vigorous rendering of the part, whilst Miss Amy Willard treated the familiar role of the loud voiced parlourmaid to a stereotyped rendering relieved by occasional Hashes of (originality. The Lady Hampshire of Miss \ iolet Paget was not as convincing a character as she might have been. Time compels a brief notice, otherwise a good deal might be said as to the various situations and remarks that enliven the piece. Let it suffice that “ The Night of the Party” pleased the public which was all it was designed for. Forthcoming Productions—Hall Caine's “ Pete.” A capital play, full of love, sentiment, sympathy, and romance, is the description applied to “Pete,” which will begin a New Zealand tour in .Auckland on 'July 7th, by Clarke and Meyn/B's speciallyorganised company, headed by those most capable artists. H. R. Roberts and Beatrice Day. “Pete” is dramatised by Hall Caine and Louis N. Parker, from the former's story, “The Manxman,” and ran for over 200 nights at the Lyceum Theatre, London, where it broke all records for drama. “Never before.” said the London “Times,” has a play of this kind made such a thrilling appeal to the sensations, susceptibilities and sympathies of an audience. They wept and laughed alternately at the pathos and sweetness of this groat play, and Mr. Hall Caine., who occupied a box. had to bow his head at the final fall of the curtain, so tumultous was the applause of the audience, swept away on a tide of emotion. The story is powerful and thrilling, carried out to a most effective climax. The essence of the drama is a story of love ami betrayal, of wicked rascaldom and picturesque heroism. Pete Quilliam goes to Kimberley, and. returning, marries the girl lie had left behind him, Kate (Tegeen. an innkeeper's daughter on the Isle, of Alan. However, in his absence. Philip Christian. Pete’s supposed friend, had made love to her and won her heart. When Pete returns a rich man. Kate becomes bis wife, for Philip has refused to marry her. putting ambition and position before love and honour in his aspiring to become the Deemster of the Island, and the innkeeper’s daughter. he considers, is not a fitting wife for him. How Pete discovers that Kate's love is not his, how she leaves him on account of tin* guilty secret that exists between herself and Philip, and how ultimately she realises that the big hearted, manly husband of hers is the man she really loves, and how she returns to him a repentant and lovable wife, make the thrilling ami pleasant. as well as pathetic phases of this remarkable drama.” After seeing the production at the Lyceum Theatre. London. Mr. Meynell. on his return to Mel-. bourne, set about organising a «q>vciiil company to tour with “IVte/’ choosing

the various art'ls in accordance with the requirements of the roles, aud the particular line of ability. Each member of the east, therefore, will be thoroughly suited to her or his part. Mr. H. R, Roberts and Miss Beatrice Day will be supported by a strong company, including Mr. Conway Wingfield, Mr. Harry Sweeney, Mr. J. F. Forde, Mr. W. J. Montgomery, Miss Lorna Forbes. Miss Elwyn Harvey, Miss Katie Towers. Miss Ethel Bashford, and Miss Mary Laing Meeson. Miss Coopei* and Mr. Cyril Towsey. Of fresh interest to New Zealand concert goers is the arrival from Home this week ot Miss Mary Cooper ami Mr. Cyril iows(‘y, both ot whom have appeared in London with great success. Miss Cooler has a rich mezzo-soprano voice which

•eenis to have attracted and pleased the most exacting critics in the metropolis. She has the temperament and the neeomplishmens of the artist according to some. The “Times” says of her rendering of Schubert's songs: “Her quiet tone ■was resonant and beautiful to listen to.” Mr. Cyril Towsey (whose engagement to hliss Cooper is among recent announcements) has at various times toured with Melba. Mnrchesi. Busoni. Mark Hambourg and other artists. His qualities as a pianist have won him many good notices. In his Chopin renderings ihe is spoken of as possessing “rare delicacy of touch, with masterly power and charming rhythm.” Both artists are to make their first appearance in New Zeallan'd at Auckland at the Choral Hall on (Friday, June 10th, and will be supported by the Auckland Liedertafel with sixty voices. Subsequently they make a tour of the Dominion. Stray Notes.

Latest news by the mail records the fact that Maeterlinck’s beautiful fairy play, “The Blue Bird” ( which, it is whispered, the public may be invited to a Treading of in Auckland this year) has reached its 200th performance, and is etill drawing crowded houses.

The composer of that inextinguishable classic, “Bill Bailey,” has been discovered in a workhouse at Eloise, Michigan. Yet they say “popular” songs with a bit of “toon” in them pay!

The habit of giving English appellations to foreign artiste appears to be increasing in intensity. M. Jacques Renard (who, of course, has Anglicised hiniseilf, so to” speak, by means of his long connection as solo ’cellist of the Queen’s Hall Orchestra), was lately announced, in London as Mr. Jaek Renard! After this, says a facetious person, what is the objection to Dick Strauss, Jack Ritcher, (pete Mascagni, Ted Grieg, and Harry Caruso? No other choral body in Britain is more widely known than the Sheffield Society. They leapt into fame and prominence with' Elgar's “Dream of Gerontius,” and have to a large extent held this important position by the perseverance and skill of Dr. Coward. “Omar Khayyam,” the latest choral composition of Granville Bantock, produced recently in London, has been given by them with great success. The subject does not provide an everyday type of material suitable for weary’minds unless it bestir them to drink and be merry for to-mor-row we die—“ Sans Wine, sans Singer and sans End.” The composition is regarded by the critics as a work full of vocal difficult ies and planned for a chorus having sterling qualities only. “Le Menestrel” says a “new Mozart” has been brought to light in Bologna. His name is Dippo d’Autolo, and his musical attainments are absolutely prodigious.” “Brigg Fair,” a recent composition by Mr. Frederick Delius, one of the more promising English composers, is to be included in the programme of the festival of the Gorman Musikverein at Stuttgart. He is the only British composer whose mime is in the list, but the American, Charles Loftier, is included. Sir. Ernest Toy. the Queensland violin, ist, and leader of the orchestra of Mr. Williamson’s Grand Opera Company, who has had a great deal of experience on the Continent, more especially in Paris and Monte Carlo, is the fortunate possessor of a Gasparo di Salo violin, which formerly belonged to the Norwegian virtuoso Ole Bull, who used it. on account of its large tone, for his appearance in the Great Market Place Hall of Moscow. Ole Bull died in 1880, and another great player. Wilhelmj. acquired it a year later, just before his Australian tour. The instrument was presented to Mr. Toy in ]'3u2 by a -party of Queenslanders headed by Lord Lamington and Mr. Lionel Robinson. Just before returning to 'Australia three years ago. Mr. Toy was supporting Al me, Ella Russell in a tour of the Vnited Kingdom, ami used to join that soprano in Gounod's “Ave Maria,” an obligato which lie played in Brisbane .with Mme. Melba. The Palmerston North branch of the W.C 11 wrote to the Borough Council requesting that it should stop the exhibition of pictures depicting the careers of notorious criminals, such as the Kelly gang, ns being likely to injuriously affect the voting mind. The matter was referred to the Opera House Committee. In a test ease heard in London last week it was decided that the London County Council laid exceeded its powers In prohibiting cinematographic exhibitions on Sundays. Bernard Shaw’s latest play. “Misalliance,” was staged in Berlin on ftth ult.

Sheridan’s faufous comedy, “The Rivals,” has Deen revived by Mr. Lewis Waller ai the Lyric Theatre, 1-ondon.

“Great interest was centred in the first appearance of Master Bernard Kitchen,” says the Wanganui “Chronicle” in a report of a local concert recently, “a pupil of Mr Mcßeth’s, who more than fulfilled the great expectations formed of his ability us a pianist. Master Kitchen is something more than the mere boy prodigy, for he has the makings of a true artist. His technique, touch and expression are wonderfully mature for a boy of his age. and his musical career, if he takes up music as a profession, is full of promise. He had to submit to three recalls, but did not accept the encore.”