Music and Drama.

New Zealand Graphic, Volume XLV, Issue 6, 10 August 1910, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates Subject tn Alteration.) AUCKLAND —HIS MAJESTY’S. August 8 Pantomime “Aladdin.” Aug. 24, 27, and 30 — Madame Calve. September 1 to 3 — Auckland Boxing Association. September sto 24—J. C. Williamson. September 2G to October 19—Allan Hamilton. October 20 to November 4 —Fred Graham. ST. ANDREW’S HALL. Aug. 16 — Cyril Towsey and Mary Cooper. THE OPERA HOUSEIn Season•- Fuller’s Pictures. WELL IN GTON.—O P£ R A 11 OUS E. August 1 to August <3. Hugh Ward, kept. Ito Sept. 14.—J. C. Williamson. Oct. 7to Oct. 2G. J. (’. Williamson. Oct. 27 to November 5.— Allan Hamilton. Nov. 12 to November 24. Fred 11. Graham. December 24, six weeks’ season.—J. C V\ illiamson. theatre royal. .Vaudeville (permanent). Oberammergau— A Village of Actors. THE greatest example of an inherited dramatic instinct fostered by generations of proficiency, is afforded by the village of Olierammergan, where once in cxery decade the passion of ,the Lord is reiterated as a gigantic religious pageant. The mother's daily prayers in the village are that her boy may live to play the part of Chriistns, ami if the child happens to be a girl, the mother’s prayers aie most fervent that she may live to play the part of Mary, mother of < hristus. Actors fall naturally into the parts of which they have been thinking all their lives. Even the babies in Oberammergau can lisp lines of the drama. An interesting book, entitled “Oberammergau, by Josephine Helena Short (Crowell and Co., New York) has recently been published. Oberammergau, we are told, is forty-three miles southwest of Munich ami scarcely two hundred and forty-three miles, as the crow Hies, from the Austrian Tyrol and Venice. From May until October .the spectacle is presented approximately six times a month. rhe play has no features of modern advertising connected with it. 4 here is no press agent, bill poster or printing. The largest remuneration is paid to Anton Lang, who plays ■the part of the Saviour. He receives 25/ for each performance. 'Three hundred persons receive about one shilling for a. performance that lasts eight hours in all kinds of weather. 'This is merely a reimbursement for loss to them in their vocation while rehearsing or performing the play. The gross receipts last year were £65,900, with a net profit, of £29,000. employed for schools, roadbreaking, and river improvement. It is perhaps needless to say, remarks Josephine Helena Short, Ithat the people of Oberammergau are not peasants. There are some peasants in the village, but the majority of its inhabitants are artists. “They live simply and even frugally, and do sonic work in the fields. They are a refined, cultivated people, sensitive to all that is beau tiful and good about them; and even more, in being able to express beauty a<id goodness in their own lives. One cannot be in their presence and look at their strong, fine faces, many of which have great beauty of feature as well as of expression, without 1/ing conscious of the nobility of their character.” 'The chief occupations of the villagers are wood-carving and farming. 'The three men who have represented the carpenter’* son since 1850, with the exception of Lang, have all been wood-carvers. One year preceding the play, the villagers, by a common vote, elect committee of nineteen. Jl'his commit lee, with the burgomaster and the parish priest, select the cast and supervise the performance. The performers put aside their respective trades for the time, and endeavour to live up to the parts assigned to them. Mr Ellsworth fails to tell us the psychologic.ll effect of i-uch a selection on the unfortunate singled out for the part of Anton Lang, he assures us, is tall and lithe, and bears an almost perfect resemblance to the Christ of (he old masters. The cost limes worn in the play are exact reproductions from copies

made in Palestine. In the village, crime is unknown. Mr. Ellsworth was present one evening when two young men engaged in a friendly game of cards. The village church chimed the Angelas. Immediately the young men put their cards aside, and, standing erect, bowed their uncovered heads in silent prayer. The stage of the Passion Play is 140 feet long by lit) feet deep. The aproniri larger than that of the ordinary stage. “On either side of Jhe opening, and separating the proscenium from the palof Pontius Pilate and of the High Priest, are two arches. The two palaces are on the extreme right and left of the stage, and are most effective and picturesque in the various scenic settings. “The proscenium is separated from the apron by a portiere curtain. There i», however, also a frame curtain, the upper half of which draws up into the arch, while the lower half sinks Into the stage. This curtain is used at the beginning and end of the play and between the intermissions. “The scenery of the Passion Play is built entirely for daylight effect. The stage itself is without ccTver, and situated as it is with a background of forestcovered hills and the blue sky for a canopy, 'the effect is such as no enclosed theatre ever could produce. Often during the representation birds will fly across the apron or perch themselves upon the uppermost portions of the

stage, anil their songs and twitterings add an element of reality which makes the illusion almost perfect.” The first production of the Passion Play reaches back almost three centuries. Since 1634 the performances have been given every ten yeans, with one exception. Instead of producing the Passion Play in 1864, it was given in 1860, in order that the dates of the production might fall in the initial year of each decade. The invasion of the Austrian army of 1860 destroyed part of the village of Oberammergau, and consequently the play was not given until 1815. In 1870 the performances were brought to an abrupt close by the declaration of war between Germany and France. Within recent yeans .the text and the personnel of the Passion Play have become familiarised to the ends of the earth through the medium of the work of writers and translators. The whole dialogue of the play, translated into English, with .the choruses and an account of the performance, was printed for the first time in 1890. It was a translation of a German prose version taken down in shorthand in 1886 by \V. Wyl, ami it was •impossible to obtain a libretto of the play previous to it hat time. Mr. Mon<tro.se J. Moses is responsible for a more recent English translation. However, you cannot really know the

Passion Play unless you live in Oberammergau while it is going on, and you can never understand all of it unless you spend at least one “off year” among these very wonderful peasants. You watch •these people go through It he intricate complex parts of their drama, and you marvel. Where have they 'learned their stagecraft? Whence comes their ease? There are no anachronisms. The mob is a mob, and each performer, down to the smallest, plays his or her part calmly and naturally. How do they do it? It is in the air of Oberammergau. Half ithe village takes part in every production. The whole village talks and analyses the play from the moment they begin ;to speak. It has done so for centuries. It has become bred in their blood and bones. Sunday Music Again

The question of Sunday concerts has been agitating the Christchurch City Council. It came up la»t week in the form of an application from the Christchurch Musicians’ Benevolent Society to give their initial concert on a Sunday evening at the Theatre Royal. The society guaranteed the entertainment to be entirely of a sacred nature, that no personal profits would be made, and that no charge would be made to the public for admission except by voluntary contributions. The Mayor, acting by virtue of an antecedent resolution of the City Council had granted the request for one concert, but refused to proceed further. The Council had ‘therefore to decide the matter. The position was somewhat complicated from the fact that Sunday organ recitals are being given regularly in the city. As was to be expected, one or two Councillors used the occasion to

endeavour to have all Sunday concerts ■suppressed, chiefly because they are incapable of thinking otherwise. There seems to be little doubt that Christchurch would have to suffer the result of such distressing mentality were it not for the fact that the Council has been compelled to permit organ recitals. Under •their agreement with the proprietor of His Majesty’s Theatre, the latter is entitled to have free use of the organ there for ten Sunday nights in the year. The Council, of course, refused to accede to the request, utilising the allegation that these Sunday concerts were intended for individual gain to veil their ancestral prejudice in the matter. How long must it be before our muni cipalities will be forced to realise how far New Zealand is behind England in its attitude towards Sunday music? It seems as though all the most depressing attributes of the middle class early Victorian England were transplanted to thin country by our grandfathers, and aye our grandmothers, To become a perennial and luxuriant source of ignorance in the arts. Music is not the work of the devil. It is not an offshooit of original sin. That these elementary facts should have to be voiced is enough to make one blush, much as the enemies Sunday music need to be informed of them. It has also to be pointed out that on the other hand

it will be, so we are led to believe, tfitf means of expression for the chosen when the earth is no more. Judging by the amount of understanding some of our City Councillors and our divines exhibit in matters musical they will be feeling somewhat uncomfortable when it comes to handling a harp.

A Fine Song Cycle The Auckland Liedertafel’s second concerts of the present season were rendered unusually interesting by the reappearance of Mr. Cyril Towsey and Miss Mary Cooper last week after their recent tour of the Dominion. It must be a long time since the Liedertafel programmes were graced with such a fine song cycle as Von Fielitz's “Beautiful Jessie.” The tneme is essentially poetic. It Is a modern work written with inspired effort and culminates with the fifth number in a magnificent piece of song writing. It represents a drama of love—the awakening, the expectancy, realisation, desertion, and tragedy. Miss Cooper gave a comprehensive and sympathetic rendering to the whole. The effort was indicative to what range her powers of interpretation extend, particularly when supported by so fine an accompanist as Mr. Cyril Towsey. Alias Cooper is an exponent of that style of singing which Eleana Gerhardt has brought to such a fine pitch in the concert rooms of Europe with the support of- Arthur Nikisch, the well-known conductor. It represents something more and inexpressibly finer than ballad singing. It i» the art of using the voice with restraint and modulating it as near as may be to all the subtle and exquisite proportions of a truly poetic composition. It is only to those artiste who can project themselves into

the mood of the composer and express it free from technical blemish that this is possible. Miss Cooper shows the necessary artistic insight and has the technique requisite to the interpretation of a song cycle like “Beautiful Jessie,” and' her fine effort won the keen appreciation and applause of all keenly musical people in the audience. She also sang “The Erl-King” (Schubert) in the original tongue of the composer, the treatment throughout being notable for its wealth of poetry and artistic insight. Both items were encored. Air. Cyril Towsey was deserving of a finer instrument, but he was enjoyable as ever in the Grieg “Lyric Piece” (Op. 43) and the “Polonaise in C Sharp Minor” (Chopin). The Grieg number, with its delightful range of mood, so effectively contrasted in “The Solitary Traveller” and “To the Spring,” was given with exceptional deftness of fingering and delicacy of poetic expression. In the Chopiro Polonaise the interpretation was marked 1 by its spontaneous and intellectual force, combined with refinement of feeling. The pianist had to respond to the audience in both items. The Liedertafel The Liedertafel, under Dr. Thomas, were in characteristic form, which mean© that in some items they did better thaM

others. There is not infrequently an element of patchiness in their efforts, which suggests either inefficient rehearsing or the inability on the part of some of the voices to hold .themselves sufficiently in restraint so that the finer moments a conductor may desire are realised. Sir Edward Elgar's rousing part song, “Follow the Colours,” was given with a fair amount of spirit, whilst “The Phantom Host,” a very fine descriptive piece of work, ending with a sonorous invocation, received a very good rendering. Limnandcr’s “The Smugglers” was not so successful, with its ragged moments and falseness of intonatiqa. Amongst other items was a repetition of “A Musical Jest,” the solo part of which was taken by Mr. M. Trenwith. Mr. T. B. Bowe sang “The Kingdom of Love,” and a setting of “The 71st Psalm,” both by Dr. Thomas, but neither item was of very much interest.

The Flea and the Trombone. The other day the public was asked solemnly to believe that cows are susceptible to music's charms, and yield particularly good milking results their musical sympathies are appealed to during the process. And now the world should be grateful to a learned member •of the Royal Society for the discovery that the flea is also endowed with the musical sense, and is “particularly sensi tive to certain notes on the tenor trombone.” Neither a trumpet, a tuba, a .saxophone, nor any other wind instrument makes the smallest impression on this discriminating insect, which, “when imprisoned in a microscope live box, preserves a stolid indifference to most musical sounds.” Only the majestic tones of the trombone —the tenor variety, mark you, not the alto or bass—serve to wean it from its accustomed apathy. There is one note produced by the instrument, however, for which this discerning insect has an almost morbid aversion, for it seems that “'when the B flat below the middle C of the trombone is in full blast it expresses its displeasure by- flexing its first pair of antennae under its body.” With a trombone "in full blast,” this is perhaps easily accounted for, and it seems, on the whole, an inconsiderate thing to subject a poor little flea in a mieroseope-box to such an infliction. The obvious suggestion is that people who are afraid of passing a restive night in consequence of the activity- of such visitors should .sleep with a trombone -in reach. A blast or two in the stilly night might save a lot of discomfort, and, .of course, nobody would object! i

The Emancipation of Intellectual Women. The older English Universities are noted for their traditional conservatism —■ an attitude of. mind that , is as inexplicable as it is aggravating to the colonial fresh from his. native shores when he bumps up against it in the person of a very superior young man who realises he has absolutely nothing more to learn. The respectability of not a few Dons will be outraged by- the fact that the University of Durham has decided to confer the Degree of Mus. D. on Miss Ethel Smyth —the foremost woman composer in England. Miss Smyth’s opera, “The Wreckers,” was recently performed in London, and her works generally have won her many admirers. She had to go to the continent —to Vienna, in fact, to be recognised, and have her works first performed. Duijiam, greatly daring, is venturing on a step that Oxford and Cambridge Universities are not bold enough to take. Indeed, these ancient seats of learning still stand alone among other English Universities in refusing the full measure of Academic approbation to women who present themselves for examination, pass the same tests as the mon—and are refused the title. Melba Back in London. The concert of welcome to Madame Melba at the Royal Albert Hall, London, was a very successful gathering. The death of King Edward on the very day fixed! upon for the function, of course, necessitated a postponement of the event, and since that period Mme. Melba, in fulfilment of her engagement with the Covent Garden Syndicate, has made several appearances at the Royal Opera. This circumstance, however, seems io have in no way militated against the success of the concert, for a very large audience gathered in the huge South Kensington building and received the Australian artist with the greatest enthusiasm. Happily-, the lady was in the best of voice, and although announced to sing only three airs, this number was M a matter of course considerably in-

creased by various encore pieces. Her first advertised song consisted of Massenet's “Sevillana,” which was given with much fluency and warmth and beauty of tone, and the supplementary song in this instance was Mr Landon Ronald's ballad “Down in the Forest.” The only operatic excerpts which Mme. Melba sang in the course of the afternoon were the pathetic appeal “Vissi d’Arte, Vissi d’Amore,” from the second act of Puccini’s “La Tosca,” which was delivered with much musical feeling, and the Aubade, from Lalo’s “Le Roi d’Ys,” which was given as an additional air. Subsequently the artist gave, with flute obligato played by Mr John Lemmone, Bishop’s “Lo, here the gentle lark,” and then two encore songs were conceded, the choice of the singer falling upon Tosti’s “Good-bye,” and afterwardls upon “Coinin’ thro’ the rye.” An effort was made to induce Mme. Melba to sing yet further songs, but after reappearing on the platform several times, she was eventually permitted to retire. As usual on such occasions, the presentation of flowers to the prima donna was a conspicuous feature of the afternoon. When she had concluded her first song she received a large number of bouquets, and after she had completed the excerpt from “La Tosca” an airship of pale blue satin, the car of which was filled with flowers, was lowered from above, and, when some of the flowers had been removed, was raised again over the platform.

Mr. Beecham’ Ambition Mr Thomas Beecham . is certainly plucky, even if one only takes as evidence of his pluck his recent season at Covent Garden and his current season at His Majesty’s Theatre. He is further contemplating a three months’ season, starting in October next—and this in face of the fact that he is losing thousands of pounds. Speaking recently to a Press representative, he said that his perfoimances at Covent Garden cost on an average £6OO each, while on his summer season he stands to lose anything from £lO,OOO to £20,000. At this rate, two things are essential to the career of an impressario—-the ability and the willingness to pay up. Not everyone has the money to lose or the determination to lose it; Mr Beecham fortunately possesses both. It is not a case, however, mutatis mutandis, of “Brewster's Millions,” for Mr Beecham has a great and praiseworthy ambition —namely, to popularise opera in London, and he regards these various seasons as simply opening moves in the campaign which is to proceed until he can establish a permanent opera house in the metropolis. He is waiting until he can find a site in a good position at a fair valuation. When a gentleman is prepared to spend a sum of half a million of money a lot of things can eventuate. “ The Girl from Rector's.” The excitement in Wellington caused by the Rev. Dr. Gibb and Rev. J. J. North, acting as “advance agents” for “The Girl from Rector’s,” is dealt with at length by our correspondent on page 4. As the result of the ill-judged denunciation of the piece by the Rev. Dr.

Gibb and the Rev. J. J. North, the public flocked to it in thousands.

Dr. Gibb in his sermon condemning the play before it was produced said: “1 may- be told that in making reference to this brazen-faced iniquity 1 am only giving it a free advertisement, and that some may go to see it who would not have gone had I held my peace. But the risk of this must not deter me from the discharge of a plain publie duty. And the risk is small.” How- small that risk was must now be evident. The point of view which inspired the reverend gentleman to such an extravagant and emotional condemnation is clearly indicated in the following:— “I denounce this play as Satanic. It is a beastly—glittering, but none the less beastly—appeal to the basest passions. It holds marriage and love up to mockery. It is pornography rendered ten fold more deadly by the fascination of wit and beauty and dress with which the play is said to be invested. It is deplorable, nay, it is horrible, that men and women should be permitted to descend to the level of beasts by such exhibitions. It is damnable that outsons and daughters should be exposed to the contamination of witnessing their degradation.” The Rev. J. J. North was scarcely less happy in his remarks. He said on Sunday week: “This company may find

5000 people in this city who will crowd the Opera House and gloat over the brilliant lusts of debauched woman and lecherous men, but the action of the press of this country makes it certain that only the moral scum of the city will dare to go.” The packed houses of \\ ellington public will hardly appreciate the designation of "moral scum.” These remarks are not quoted with any malicious intent to make either gentlemen appear ridiculous. it must not be forgotten that they occupy responsible positions in the social life of the people, and are only doing what they consider their duty. Their remarks, however, must rebound on themselves. The inevitable reaction showed itself in the notices of the three Wellington papers, all of which, as a protest against Calvanistic diatribes, “ white washed the play. No serious student of the drama wants to see many productions like "The Girl from Rector's” accepted as wholesome fare for the public. It is much on a par with stull like The Merry Widow” and other commercial extravaganzas of the day. They are designed to make dividends out of the popular taste. The majority of people who attend these productions go merely to be amused--not to think. They laugh and giggle not at the piece so much as the arts and buffooneries of the comedian. As a presentation of actual human life or setting forth any guiding principles to conduct the thing is preposterous. It is only people so much in earnest they cannot laugh and who never study the drama, nor meet cultured and intelligent .people like Mr. Hugh Ward and Miss Palotta that

jump at all sorts of wild and irrational conclusions about the frivolous stage. They forget that it is the people fond of frivolity who make its existence possible, and that these superficial productions do not constitute the whole stage, nor even a vital part of the drama. It is time some of our unorthodox divines .showed a little more insight and judgment where the theatre is con eerned. The Spectacular Success of the Year. “Mr J. C. Williamson takes pride in. presenting Aladdin” —the excerpt flares across the programme. When you have whirled through its fourteen scenes and reeled away inebriated by the orgy of fire ami colour, you collapse into the nearest tramear and murmur "Well he might.” Aladdin, as it was originally produced in London last year at Dury Lane, made the finest pantomime of the season. As staged at His Majesty's in Auckland, it is the spectacular success of the year. Each scene is a chromatic symphony, each symphony a riot of colour and light. •Every year the pantomime, which we all anticipate for its sensation and its laughter, seems to go one better. Several of tile scenes are particularly effective, such as the tire maidens’ home, the interior of the jewel eave, and the marvellous balloon, which floats with its fair occupant all round the auditorium. To- traverse

the synopsis of scenery would take more than space will allow this week. One can only speak of- the staging as a remarkable pageant of effects culminating •in the gongeous jehryfsantheinum fcHe which, if it was not the most convincing or original episode, commanded universal admiration for its wonderful colouring, and stately presentation. Mr Harry Phydora, as the “Widow Twankey,” was delightfully droll and amusing as ever, whilst he was strongly supported by Mr J. M. Campbell in his ridiculous presentation of the Emperor. Price and Rcvost, with their extraordinary aerobatic interludes, made the sensation of the evening. Miss Marie Eaton (Aladdin) and Miss Eva Moore (the Princess) were, as a rule, up to standard, although there is room for imagination to picture, both parts being made a I'ittle more attractive at times. The whole production is resplendent with superb effects, dances of singular beauty, and strongly contrasted sellings. It has been worked up to go like clockwork, and what with life, dash, colour, and brilliance there is never a moment that lags. It is a thoroughly up-to-date pantomine which young ami old ran enjoy-, and none will regret. Calve in New Zealand The Calve dates for Auckland arc fixed for His Majesty's Theatre as follows:-— Wednesday 24th, Saturday 27th, and Tuesday 30th August. Madame Calvo will then proceed to Wellington and give one concert at the Town Hal! on Saturday. September 3. Tin- singer will appear only in the lour centres of the Dominion.

Stray Notes. “The Eldest Son” is the title of the new play by Mr John Galsworthy, which Mr Frohman des tines for the London Repertory Theatre, where next spring he will also produce the ‘Tphegenia in Tauris” of Professor Gilbert Murray. The picturesque and melodramatic production “The Whip” attained ‘the proud, position of establishing itself as the first production to attain a run of 200 performances at Drury Lam; in London last month. Messrs Raleigh and Hamilton’s piece 'has been seen by over half a million people since it was first presented ■last 'September, The piece is to be produced on this side of the world by Air J. O. Williamson. Since the failure of “Judge Not,” Mr JI. B. Irving has revived ‘‘The Lyons tMail”—a piece that in all probability •will be included in his repertoire when lie visits Australasia next year. The last time the actor played it was before the late King Edward at Windsor Castle. “The play,” says a critic, “introduces some of his most subtle as well as his most effective work in his dual impersonation of the worthy Lesurques and the ruffianly Dubose. There is no need to discuss again the skill with which he cointfnands such intense sympathy for the innocent man in his sufferings under the foul 'accusation apparently confirmed by' irrefutable evidence. There is no need to appraise once more the well-observed detail, the accurate colour and tone of his elaborate study of a born criminal’s ruthless crimes. Except as a vehicle for stagecraft, ‘The Lyons Mail’ may not be ii great play; but all that is best worth doing in it is done by Air Irving with a sense of contrast and a picturesque intensity which could probably be rivalled l>y no other actor of his generation.”

When Dr. Richter intimated to the committee his inability to continue as conductor of the Birmingham Festival, the feeling was universal that an Englishman should be appointed to succeed him. It is now announced that the cornmil tee has unanimously resolved to offer ■the position to Mr. Henry J. Wood, land that that gentleman lias accepted it'he offer. This will make the third Festival under the direction of Air. Wood, ithe others being Sheffield and Norwich. Though still but a young man he. has more than won his spurs, and has attained a prominent position in Britain by Isheer merit eoiipled with hard work, lie has proved his capacity and thoroughness in many schools of composition, and there can be no doubt that he will he a worthy successor to Costa and Richter.

The unusual occurrence of honouring a still living composer with a memorial tablet took place in Munich recently, where, on June 11, the birthday of Richard Strauss, the tablet was unveiled at his birth-phi.ee, Altheimereck No. 2. The marble tablet which was founded by Several friends through the initiative of lawyer Dr. Kulz and carried out by the •sculptor Karl Kilim-, is a simple but very tasteful piece of work, and contains, between a boy holding a French horn and a singing-girl, the inscription: “Hicr wurdc Richard Strauss am 11 Jimi, 1864, geboren” (Richard Strauss was born here on June 11, 1864). Tlte unveiling was preceded by some remarks in which ■the speaker mentioned the motives of this rare honour to Richard Strauss as cojupmicr, and the reverence the people of Munich have for their gifted son and master. Owing to a sudden attack of neuritis in the right arm and neck. \L Paderewski was obliged to cancel all his concert en gagementK in England. His projected recital last month at Queen’s Hall did not, therefore, take place. This is the first time during his career that M. Paderewski has born unable to fulfil an eu-gageim-nt in Great Britain. He hopes to return to England in November to giv® a Tocital in London. and to visit the live provincial towns at which he was to have appeared shortly.