Music and Drama.

New Zealand Graphic, Volume XLV, Issue 21, 23 November 1910, Page 13

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates Babject to AUCKLAND—HIS MAJESTY'S. November 21 to 26—Auckland Competitions Society. November 28 to December 3—Johnson-Jef-fries Pictu-ee. December 5 to 17—Meynell and Gunn (George Willoughby). December 19 to 24—MacMahon Bros. December 2t> (three weeks* season) —Allan Hamilton. THE OPERA HOUSE, In Season—Fuller’s PLetores. TIVOLI. Vaudeville (permanent). WELLINGTON.—OPERA HOUS& Dec. 23 to Jen. 14.—Royal Comics. Jan. 18 to Feb. 2.—J. C. Williamson. Feb. 3 to Feb. 9.—George Willoughby. May 17 to June 7.—J. C. Williamson. August 17 to August 27.—J. <?. Williamson. THEATRE ROYAL. Vaudeville (permanent). " Mary Magdalene ” —Maeterlinck’s latest Play. I*l f LONDON friend sends me an adf I vanee notice of Maurice Maeter4/ > iinck’s latest play, which has just been translated from the French by the faithful Alexander Teixeira de Mattos, who is responsible for several other versions of the Belgian's works. The title on the cover is " Mary Magdalene: A Play in Three Acts.” In the preface to his new play, says the notice. M. Maeterlinck explains, with “ a very pretty manner of politeness,” how he asked leave of Herr Paul Heyse, the author of “Maria von Magdala,” to develop two situations touched in his play; how the great German was much annoyed at the suggestion; and how M. Maeterlinck, recalling the text of his chief authority and a situation in his own “ Joyzelle,” took Fkeneh leave. What Is Love ? It is difficult to understand Herr Heyse's apprehension. Had we written a plav. we would gladly offer M. Maeterlinck the whole plot, just in order to see how it would become transmuted in his mind and spirit. As years go on and the main line of his development proceeds, he learns more and more about love, and becomes more and more careful, it would seem, to try to see the externals of life as they actually are or were. That the two movements are not in contrary directions —in other words, that self-sacrifleing love is a daily fact and not a romantic dream —this play helps to prove. In the first two acts M. Maeterlinck tries hard to bring the Jerusalem of the year of the Crucifixion before our eyes. Here are Roman philosophers and warriors, villas and gardens, leisure and learning, and sharply set against them an unsavoury rabble' of oriental beggars, cripples, jnaniacs, and criminals. Here is the gorgeous courtesan, with all her brutalitv. passion, and caprice, and here are the rabble, with their Jewish morality and their hatred of their conquerors and •their conquerors’ strange women, inflamed by the religious excitement of . a new “revival,” if we may so call it. From the philosopher s garden, the courtesan hears the voice of a Preacher —that Nazarene whom the philosopher finds “rather curious” —and is so fascinated that she must needs go down among the rabble, which only the Preacher prevents from mobbing her. In Act IT. even the Romans are bestirred, and the philosopher (some kind of Neo-Cyrenaie) finds the Nazarene something more than rather curious. A dead man lias been raised to life. And later that Lazarus, still half a corpse, eomes into the philosopher's garden to summon Mary Magdalene with a call even stronger than that of her new and passionate love for the Roman military tribune Verus. Tke Clinching Conflict. In Act 111. comes the clinching of the conflict. The play is built to a great extent on the ordinary lines, which M. (Maeterlinck has not favoured too much in the past. The first two acts have shown the growth of two influences on Mary Magdalene—that of the human lover and that of the Divine. The third act brings them to direct battle. In "Joyzelle” (an earlier play by the dramatist}, the heroine may save the life of

Lanceor by giving herself to Merlin. In “Mary Magdalene,” Mary may save the life of the Nazarene by giving herself to Verus, in whose hands that life lies. The resemblance is only external. Joyzelle did not love Merlin; Mary has a high passion for Verus. Joyzelle gave a verbal consent, and trusted to a dagger to save her. Mary cannot give even a verbal consent. For the great difference lies in this: that here it is not a question of a single aet of unehastity, or even the chastity of one woman. In Mary's words:— “Were I to yield but for a moment under the weight of love, all that he has said, all that he has done, all that he has given would sink back into the darkness, the earth would be more deserted than if he had not been born, and heaven would be closed to mankind for ever! ... I should be destroying him altogether, destroying more than himself, to gain for him days that would destroy everything.” Magic Beauty. The play is characteristically Maeterlinckian when the climax comes. The fiercer her struggle with opposing forces, the more Mary Magdalene withdraws into a remote and quiet world, where existanee is absolute and changeless.

She speaks as if from far away; and when, as the Nazarene is led past the window, his followers rage at the woman who, they think, has betrayed him, she stands motionless and speechless in an ecstasy. M. Maeterlinck’s drama, is gaining blood and fire without losing its distinctive stillness. Of the translation it is not- possible to judge minutely yet, because the French is not yet published. It has not any of the Maeterlinck magic beauty. But one can trust Mr. de Mattos to give the sense of the original accurately. Cavalieri Separates from Her Husband. It was not long ago announced that Robert Chanler, an American millionaire, had made over the whole of his fortune to Lina Cavalieri, the wellknown singer in grand opera. The latest is that Chanler is now a pensioner on £5 a month, whilst he and the grand opera lady have parted forever. The story of the separation is a circumstantial account of how the singer led the young American on to the point of proposing marriage by playing Prince Dolgorouki against him as a rival, and how she finally, four days before the wedding, scut for Chanler, and made with him one of the strangest prenuptial arrangements ever heard of. Tn the first place, she told him the story of her life. In detail she related to him all the experiences of her childhood; how, as her girlish prettiness developed into womanly beauty, she became the pet of certain men of the great world of Paris, the leader of the demimonde, disputing the title only with Cleo de Merode,

Chanler Not Disturbed. Then she told of her life in the Paris half world, of the gay bachelors, the dashing married men and aristocrats who had wined her and dined her, and had loaded her with jewels, fine gowns, eostly hats, expensive lingerie, and the thousand and one things so dear to the heart of a professional beauty—a woman who must get rich before she gets old. Chanler heard all this, but he was so filled with a desire to possess Cavalier*, that it did not- disturb him. Then she told him how the father of her 16-year-old son was known to only a few persons, and not to the son himself. .She made as one of the conditions of her marrying Chanler that he should sign a statement acknowledging this boy as his. notwithstanding the fact that when this son was born Chanler was not even aware that such a person as Lina Cavalieri lived. Chanler, crazed with love for the operatic siren, was willing to do even this. But friends in Rome whom Mme. Cavalieri consulted advised against this, pointing out that it might possibly affect the boy's right to inherit the enormous fortune his mother had accumulated in various ways. Then on the very day of the wedding, while Chanler was being caressed and petted by the beautiful prima donna, the English solicitor and the French notary reappeared, bringing with them formidable legal documents. At the same time Cavalieri’s brother. Orestes, walked int-o the room.

Signs Fortune Away. Taking the documents from the solicitor and the notary, Cavalieri ran up to Chanler, threw her arms around his neck, kissed him, and told him he must sign the papers before she could marry him. Chanler signed the documents, and transferred everything he possessed, even his interest in the alimony fund to the prima donna. But two or three days after the wedding Chanler began to see things in a different light. He had been spending his time on enormous mural paintings. He did not sell many of these paintings, and Cavalieri thought this was energy wasted. One morning after Chanler had finished his coffee and roll the fair Lina, who now controlled the purse strings, announced that thereafter Chanler would lie allowed 100 francs. She agreed to board and lodge him, but out of this £5 he was to pay his valet and buy his clothes. “Get to work and earn your living, anyway,” she told him. Paints Pictures in Park. Chanler got to work. At her behest he would go into the parks and paint two by four pictures that Cavalieri thought would have some market value. Vntil a few days ago he painted these pictures and sold them when he could. Prince Dolgorouki had reappeared on the scene in the role of an ardent lover, and Chanler was relegated to the lackground while the prince showered attentions on the singer. ftha went to Cabourg. near Trouviile. Tier son, her brother Orestes, Prince Dolgorouki, and several maids accompanied her. Chanler followed a few days later, and when ho found Prince Dol-

gorouki there he gave up in disgust, and after a long conference with his brother, William Astor Chanler, started fas America. Signing the Document. According to (iianler's o« n version of tlie affair, he. Cavalieri, and their respective lawyers were seated around a large table. Two copies of the document —one in Fren.-h anil the other in English—were spread before them. Each clause had been discussed, corrected, and re-written until it finally was in the shape in which it was made public after being filed in the office of the Register. But still Chanler was not satisfied. The fact that under the terms of the contract he disinherited his two young children by his first wife—Dorothy, six, and Julia, two—seenu-l to weigh heavily upon him. He argued for delay. Cavalieri was impatient. The lawyers were becoming angry-. “I had hesitated hardly an instant,” said Chanler. in relating the story to a friend, “when my bride-to-be arose from her seat. “ My God ! I'd Have Signed Away My Soul !” “She reached over and lifted from the table the copy of the agreement in French. With the other she took the English copy. Then .suddenly she threw both arms about my neek and pressed her lips to my face. “Great heavens! It is wonderful! My breath almost left my body. When I felt those velvety arms wound in a tight embrace about my neck, when I felt the pressure of her warm lips upon <ny cheek and heard her scarcely breathe, ‘Oh, Robert, 1 love you!’ my God, I’d hav* signed away my soul.” The Contract. One of the most remarkable clauses of the contract was the one in which Chanler delegated to the songster the power of attorney to act daring his life in his behalf. It was this clause that d isinherited his two children his first wife. The property given away consists of three farms and twenty-eight pieces of New York City property. He also turned over to Cavalieri the income of £OOOO a year from his personalty holdings, consisting of stocks, bonds, etc. This is payable to her in four instalments, every three months. Chanler may possibly have a few shirts and a suit of clothes left to his own use. About all he didn't give up to Cavalieri in the agreement was his wearing apparel. Chanler’s relatives are now preparing to fight the legality of the contract in the courts. The Beechain Opera Season. The season of grand opera announced toy Mr. Thomas Beecham was commenced recently in London at Covent Garden, and is to be of longer duration and promises to prove also more eventful than that of any operatic enterprise Londoners have hitherto had at this period of the year. For three consecutive months there are to ba nightly representations of some of tha most popular masterpieces for the lyric stage, and in the course of the season it is in contemplation to produce soma eight or nine operas that have not yet been heard here, the works being drawn from different schools, and including such productions as Richard Strauss’ •‘Guntram” and “Salome. Ischaikowsky’s “Pique Dame.” Panl Dukas’ “Ariane et Barbc-Bleu.” whicdi was successfully brought out at the Paris Opera Comique about three years ago: Ixrouxs “Le Chemineau,” which is based on the story of “Ragged Rebin: and two works by native composers, namely. “Dylan,’ an opera on a Welsh subject by Mr. Joseph Holbrooke, ami "Koanga, a new composition by Mr. Frederic Delius, whose “A Village Romeo and Juliet” constituted one of the novelties of Mr. Beecham’s season last winter. The production of Hector Berlioz’s “l-es Troyens” is also spoken of. and its first introduction would certainly add distinction to the season. The work is in two parts, “The Fall of Troy.” which is in three nets, and “The Trojans at Carthage,” which is in five acts, and it of course occupies two evenings in performance. The book of it was laid out and written by the composer himself, and it is based almost entirely on the second and fourth books of the “AEneid.” Tha work was produced in it* entirety at Carlsruhe by Herr Felix Mott! in 1893, and commanded much attention. Richard Straws' “Elektra” was one

of the operas to be given—a very popular revival in t-be Metropolis it proved, too. The Crftie for Speed. The London Hippodrome has lately t»een drawing thousand* to see (oiLst-an-tino Bernardi, described as “a wonderful Protean artist,” perform many changes in quick time. One of the journalists present on h*o first appearance timed him with a stop-watch, and wrote as follows: — At nine we are rn a music-hall manager’s office; Bernardi, with a long nose and a German accent, tears his scanty locks; his artisto are all on strike. At 9.1 arrives a protean artist, clamouring for payment, followed at 9.1 7-30 by a porter, on whose heels at 9.1 3-20 treads a distracted stage-man-ager, pursued at 9.1 1-3 by the middleaged mother of a slighted star. At 9.1 J Herr Meyer, a German singer, Indlows for the caohier; at 9.1 2-3 Mlle. Janette, a French dancer, shrieks her woc-s to the empty stage; at 9.1 5-6 Signorina Diamantine demands the blood of authorities unseen. And at 9.2 a harassed policeman rtr-hes in to say that he can no longer restrain the mob waiting for admission to the theatre. The situation is saved by Bernardi, who offers to take the whole show on his own shoulders. The scent changes to the stage of the music-hall. The orchestra play a march written by Bernardi. He appears as a musical clown; he follows it up with three very artistically-lighted, serpentine dances. As Professor Confusion, he conducts the orchestra; in five minutes he is Wagner, Rossini. Gounod, Liszt. Meyerbeer. Verdi, and Sousa. For ten seconds he makes the audience roar with a hypnotic turn. Then an illusionist he shows an absolutely empty trunk, closes it, fires a revolver, and there is a man inside. He suspends the man in mid-air without support, covers him with a cloth, whisks it off—and there is nothing. And the man corner running from the back of tJie stalls. He repeats the same trick, with himself. A powdered footman walks on the st-age. whisks off the cloth, whisks off his own powdered wig, and behold, the footman is Bernardi. At 9.39 Bernardi bowed his acknowledgments in a white suit; at 9.30 1-30 in green: 9.30 1-12 in yellow; at 9.30 1-6 in purple; at 9.30 3 12 in black. And V there had not been a very long and excellent programme to finish he seemed quite willing to keep it up as long as the audience liked. rong-drawn-out Cald Shudder. Thus a critic juggles with the language on In-holding Mme. Sarah Bernhardt do the “Torture scene” from Sardou’s “Jxi Tosca”: There van be nothing more realistically horrible within the memory of the present generation than Mme. Bernhardt’s portrayal of the anguished woBiian .who is torn between love and duty while she hears the shieks of her lover who is being tortured. She idirieks. she implores, with tigerish fury "she flings herself upon the closed doors, wildly % helplessly Iteating upon them with clenched hands; her Ftfijs choke the words that she would f*peak, her eerie little cries and moans are like some wild beast in pain, she tears her handkerchief to shreds with lier teeth. She makes you forget that you are in a theatre. You know for ' a . certainty that on the other side of the door a man is being most horribly tortured. Women -would turn aside now and then, covering their cars with their hands; men tried .to take a sudden interest in their 1k»o1s. But all in vain. Mme. Berjthanlt held the audience in a vice. Like it or not. you had to go through with it. And there could be no doubt that the Coliseum audience did like it. They were thrilled as they had never been thrilled before. Jt was one long-drawn out cold shudder. And at the end one lost all count of the times the curtain rose and fell. -Censor and Tyrant. The Censor of Plays has been diatinhimself again in his capacity of the tyrant of the drama. Without a iword of explanation he has refused to license Mr. laurence HoiLsman’s new play, “Pains and Penalties,” which was to have l>eeu produced by Miss Gertrude Kingston. Without giving any reason whatever for his decision, he punished Mr. Howman by practically .destroying the commercial value of six months’ industry. The Censor of Playa is reupoii

sibk- only to tile Lord (hainberlain. and as that official hart endorsed the decision, and as the Lord Chamberlain is responsible to no public authority, the unfortunate dramatist lias no appeal. Court Flunkeyiam. It looks very like a precious piece of Court flunkeyism in this case. The play is of a historical character, and deals with George IV’.’s divorce from his wife. Queen Caroline. The Censor and the 1-ord Chamberlain seem to have imagined —-though why they should do so nobody else can understand—that this would be distasteful to the Court. Perhaps the Lord Chamberlain believes that George IV. was a great and good man, and a model of domesticity, and that a dramatist has no right to suggest anything to the contrary. Or perhaps he believes that all Brougham’s speeches in the trial scene of the play are Mr. Housman’s own, instead of extracts taken literally from the records of the House of Lords. His action, at any rate, is a death-blow to historical drama in this country. What would the Lord Chamberlain have done with Shakespeare’s historical plays if the licensing of them had been in his hands to-day? Would he not have banned them on the ground that the pourtrayal of Henry VIII.. Richard 111., and other Kings was disrespectful to the Throne? The Banned Play. Mr. Housman states that his play contains no reference to the alleged bigamous nature of George IV.’s marriage to Caroline, beyond a single sentence of a dozen words. It contains no love-making between Queen Caroline and her reputed lover, Bergami. It contains no unpleasant det-ails of a Divorce Court character. It contains no intended application to circumstances or events in the present day, beyond an exposition of the unequal treatment which, under the law of this country, is still meted out to women, both in the Divorce Courts and in Parliament. It contains no attack on religion, on morals, or on the institution of monarchy It contains no detailed reference to the character and conduct of Georg? IV. except in one passage of the fiist act, and throughout the trial scene in the House of Lords, where the words are taken literally, and without addition, from the published records of the time. It is improbable that the Censorship will bp abolished for some time to come. That is too much to hope for. As Bernard »ShaW puts it: “ Every; IJnglishman believes that every other "Englishman is a naughty little boy who should have a governess to whip him and a nursery maid to keep him out of danger. In other words, the average Englishman seems to think that a Censor of Plays is required to keep his fellow countrymen from indulging in an orgy of stage obscenity. But if the Censor cannot be abolished, it is intolerable that there should be no appeal from his arbitrary decisions. This at least should be the first step towards liberty for the serious dramatist, and it is interesting to note that almost all the leading dramatic authors of the day have signed a joint letter this week, urging the necessity for a right to appeal against such decisions as that of which Mr. Housman is the victim. A Formidable Letter of Protest. The letter of protest published at Home reads: —- Sir, —-Without touching upon the question of the total abolition of the censorship, about which some difference of opinion may ex-ist. we would strongly urge that the rejection of Mr. Laurence Housman’s .play, without reason assigned, shows clearly the imperative advisability that the judgment of the Lord Chamberlain. in his capacity as Censor of Plays, should lie made subject to appeal. Rudolph Rosier Sydney Grundy J. Cornyns Carr Henry Hamilton R. C. Carton Anthony Hope Hubert Henry Davies Jerome K. Jerome C. Haddon Chambers W. S. Maugham A. Conan Doyle Louis N. Parker H. V. Esmond Cecil Raleigh James B. Fagan Alfred Sutro W. 8. Gilbert I- Zangwill Mr. Henry Arthur Jones dissents from this point of view in one particular. He writes: “While cordially joining in the protest of my Iwothen- dramatist, agarnat the action of the Lord Chamberlain with regard to Mr. laurence Housman’s play, I am obliged to dissent from that part of it which indicates the establishment of some committee of appeal or afbitrattan as the solution of thia question.**

Haddon Chambers’ View. Mr. C. Haddon Chambers, -the wellknown playwright, in the course of an interview, said: — “I have always believed in an arbitration court since the idea was first ■suggested, and I am cure we -would have it to-day if. instead of demanding the abolition of the Censor, as the dramatists did at the great inquiry, they had asked for the referendum. “I am not one of those who think that the grievance in any case has been a very great one. and I do not believe that the fear of the Censor has ever prevented an appreciable number of dramatists from writing a play they wanted to write. It is fear of the public -that keeps the output a small one." not fear of the Censor. “I do not think I have any special talent for the constitution of courts on any particular issue: but if the Censor refused to license a play of mine, and it was referred, let us say, to a court composed of men who are in the spirit of tlie times. in touch with the theatre and with public life, men who have been successful in affairs, and who are generally men of the world, with perhaps among them a legal elemen*. I feel sure that I should make no quarrel with the the decision given.” The Boomster Again—Another Hall Caine Mixture. Hull Caine, after the disastrous failure of "The Eternal Question," in London, has ventured a further production with "The Bishop’s Son"—founded on the author’s novel. "The Deemster," with one scene taken from “Ben-my Chree” as well. Mr. Hall Caine is anxious for it to be understood that the new production is a new play, a statement that on the face of it is a trifle disingenuous. “The Bishop's Son” is said to. hover midway between old-fashioned melodrama and the flabby, bread-and-butteiy drawing-room brand. The story is of brothers and cousins. We have the hard, respectable Deemster contrasted with his-saintly, kindly brother, the Bishop. The Deemster’s son is a righteous young clergyman; the Bishop’s son Dan a wild fellow. Dan is in love with the Deemster's daughter Mona, and

tlie Deemster suspects his intentions of being strictly dishonourable. These suspieions'' lie communicates to his son. and when tlie clergyman finds that Mona has been receiving Dan against orders, when she boldly professes her love, he jumps to the worst conclusion. He hurries off to seek "the traitor, the profligate, the monster,” and his sister, who might surely have perceived a misapprehension, does not go after him. He finds Dan. accuses him. and brings on a fight, in which he gets killed. Then Dan firmly turns over a new leaf. He had begun before. His father, the Bishop, wants to get him out of the country—the transformation of the saintly old man into a nervous schemer is one of the best scenes in the play—but Dan will stay and stand his trial, and we hear a good deal about atonement. The trial is held picturesquely after the ancient fashion of the Isle of Man. The. Deemster calls upon the Bishop, as spiritual baron, to sit in judgment on his son, and the Bishop pleads piteously for mercy. Some comic relief is supplied by witnesses who will not bear witness, but humour is not. the strong point of “The Bishop's Son." Dan gives himself up. and the Deemster is about to pronounce sentence of death, when the Bishop—this was good law. it seems—claimed jurisdiction, and delivered a sort of temporal and spiritual excommunication. or judgment of outlawry. Whether this also is good law in the Isle of Man we do not know, or whether any sentence pronounced by anyone so nearly related to the prisoner could stand. However, Dan accepted it, and it is not for anyone else to quarrel. Plague and Miracle. We next hear to the tolling of bells and the chant of funeral hymns that a plague has come upon the island. The Bishop, with sound theology, repudiates the suggestion that it is sent as a punishment for outlawing Dan, but the people are not convinced. The Bishop has sent for a Catholic priest from Ireland who has "miraculous powers,” and has no other remedy but prayer. The priest arrives in Dan's lonely cabin, a shipwrecked man. near death. As he dies he gives Dan the secret of his “miraculous powers"—the preaching of

ffrainage, coupled with the use of a mysterious powder. Dau protests that he is a sinful man, who may not go among his people. The priest promptly absolves him, and sets him about his business of healing. Sb, with the priest’s eloak and crucifix, and the wonderful powder. Dan goes forth to "succour and save his people—his task and his atonement.’’ The powder is miraculous. It cures everybody; it even cures the Deemster, who is reduced to beg life from Dan. There was one dose left, and as Dan thought he had the disease himself, his nobility in giving his one chance to the Deemster set the seal on his atonement. Apparently, however, he was mistaken about his own ease, for in the last scene, which took us back to the Tynwald hill, he promised to live because Mona loved him, and there, to the acclamations of the crowd, the Bishop revokedahis extraordinary excommunication, and all was well. The play, according to all accounts, requires copious use for the handkerchiefs of the audience, and, on the whole, it seems to be a characteristic blubby and. mawkish production designed to make dollars out of human foolishness. Moral or Immoral. Writing in "The Review of Reviews.” W. T. Stead has something to say apropos of the defunct Eternal Question, which is well worth repeating. “Of the sermons.” he writes, "in this new morality play the worst is the last, in which the Magdalen is made to philosophise upon the wisdom and justice of the eternal law by which the woman who falls is damned for all eternity, whereas for the man who made her stumble there is always a place of repentance. But for such arrangement, she asks, what inducement would there be for good women to preserve their virtue? Was there ever a more detestable sentiment put in the mouth of a woman? If Mr Hall Caine goes on like this, we shall have to call his "Eternal ” not the morality, but the immorality play of our time.” . It seems to me there is no question about it. Hall Caine, in the words of George Meredith, "fiddles harmonics on the strings of sensualism.” He is the one dramatist of the day above all others who exploits sex questions for no apparent lofty purpose. But because he does it under a guise of puling sentimentality his plays are passed by the British censor. whilst a virile and anti-septic production like "Mrs Warren's Profession” is turned down with hushed voices, and unctuous respectability. It is only too true that genius has to suffer the indignjs tics which stupidity thrusts upon it; Auckland Orchestral Society. The fourth concert of the Auckland Orchestral Society’s present season, under Herr Wielaert, was not productive of any important novelties, but the repetition of Carl Goldmark’s gorgeous overture to “Sakuntala” and the Sibelius tone poem, “Finlandia,” .were very much to be welcomed. The former is a complex work, rich in chromatic effects, which have liecome such a distinguishing feature of modern orchestral music. The score offers considerable technical difficulties and probably for that reason there was no marked improvement on the rendering given at the previous concert, although there was a little more coherence, and most of the performers seemed to respond more readily to the conductor. The tone poem from the back of the hall on the second night did ' not sound as well as the previous production of this sublime work, which cannot fail but to attract for the vigour and richness of the scoring. The brass completely overshadowed the rest of the band, and once or twice blared rather inconsiderately. The nocturne froin the incidental music to *’A Midsummer Night’s Dream” proved a popular revival, and although the fundamental weaknesses of the orchestra in the crudities of the second violins aud the violas, the roughness of the horns and occasional absence of legato from the basses were conspicuous, the number was very well received. The .overture to "King Manfred.” by Reinecke. the successor of Mendelssohn in Leipzig, was also given as an opening number, but owing to the restlessness of the audience, sundry whisperings at the back, and the crackling of programmes, it was impossible to form any estimate of what seemed to be a fine performance of this beautiful work. Mr. O. E. Farrow was the vocalist of the even•ing. singing Gounod's “She Alone 'Charmeth My Sadness’’ and "The Two Grenadiers” (Schumann). Both items -were encored. -Mr. Leslie Mosee also gave a Cor Anglais solo, "Lebo Wohl” (Moes), which was warmly applauded.

A Progressive Proposal. A movement is on foot in Devonport, the picturesque borough that smiles at Auckland from across the water, to found a musical society. The initial proposal for bringing the possibilities of such a society under the notice of the public is to take the form of a light opera, rehearsals for which are now so advanced as to permit of the performance taking place on the Ist, 2nd and 3rd December at Post Hall. The opera is “Chilpcrie.” a humorous work written by Herve a little over forty years ago, which has had a great vogue in its day. There are some people in Auckland today who will recall the performance of the opera given by the Choral Societyin 1872. The story is laid in the long ago. when France was three kingdoms, and Chilperic was the autocrat of autocrats. whose domestic affairs were conducted much on the same lines as those of Henry VIII.’s. It is on various happenings. in which Fredegonda, a pretty and ambitions maid, takes a prominent part, that the fabric of the opera is reared. and very laughable it is said to lie. The east for the Devonport production is as follows:—Chilperic. Mr Colin Cardno: Siegbert, Mr Leo Whittaker; Dr. Senna, Mr A. Hobbs: Fatout, Mr Binnington; Divitiaeus, Mr H. I’. Oakden: Laudry. Mr A. Cardno: Don Nervoso. Mr B. Buddle: Alfred. Mr H. Gray: Fredegonda. Miss Knight: Brunehaut. Miss G. Evans; Galswinda. Miss E. Carter. In addition, there will be a number of pages, peasants, Druids, cour-

tiers, and dancers. The period permits of very picturesque costumes being employed. and it is certain that the forthcoming production will be anticipated with a good deal of interest. The proceeds of the performance are to be devoted towards the formation of the proposed musical society. There are. all told. 52 performers, who will be under the direction of Mrs Sutherland (conductor) ’and Mr E. .1. Haynes (stage manager). Mr Carl Prime will take the lead in the orchestra. Purple Patch of Genuine Humour. “Mr. Preedy and the Countess” io to be staged at His Majesty's, Auckland, on Monday. December sth, for the first time in New Zealand. The leading roles are to be taken by Mr. David .Tones, as Preedy; Mr. Charles 'Willoughby, as Bounsal!; and Miss Beatrice Day, as the Countess of Rushmere. Mr.l.Youlin Birch, advance agent for the company, advises that Miss Mab Paul was prevented from coming to New Zealand, and had resigned on account of illness. The “Sydney Morning Herald” described the play as “a purple patch of genuine humour,” when it was produced recently in the harbour city. There seems to be no doubt that Carton’s latest is a very fine piece of work, and it will be interesting to see what the Willoughby Companywill make of it on these shores. The Fight Pictures—Johnson ▼. Jeffries. The much-heralded reproduction by biograph of the fight between Johnson and Jeffries, which the Ma-Mahon Bros. Introduced to Australasian audiencs for the first time at the Wellington Opera House last week are due for showing at His Majesty's, Auckland, on Monday night -next. It is said that the films excellent a® regards clearness, and are

a faithful presentment of the actual encounter. In addition to the fight picture, which measures 6,060 ft., a new and up-to-date series of biograph surprises will constitute the first portion of the' programme. It is announced that popular prices will prevail, and that seats may be booked at Wildman and Arey’s on and after Thursday this week, without extra fee. Nothing Succeeds Like Success. Nobody could have foretold with certainty that the Auckland Competitions in the first year of existence would leap into instant success. The ehaneca were all against it. Auckland is notoriously a hard place to stir up in some matters that touch the individual pocket. The people have a reputation for seeking the -pleasures of the seaside and the picture shows, but that reputation only concerns a section of the populace in so far that it implies indifference to artistic and civic welfare. There is no doubt that there is a considerable number of people in Auckland who are genuinely interested in the endeavours of the community to promote intellectual culture and emotional refinement. The support of its musical societies, the maintenance of painting, and the activities of dramatic clubs all point to it. In recent years the capital city, too, has been making noticeable strides in a .similar direction —more particularly in music. After some passive years of indifference,

Wellington seems to have suddenly awoken to the fact that the cultivation of the arts is just as important a factor in the promotion of social wellbeing as drains and wood-paving are. It is unfortunate, therefore, that the capital, which ought to be in the van in the manifestation of progressive thought, should have had to abandon the projected competitions. That it was a mistake, the example and success of Auckland makes abundantly clear. The Northern City was more fortunate in getting "the right man in the right place.” The success of all enterprise depends on the ability to organise, to face what appear to -be insuperable difficulties, to stimulate the people, no matter what they imagine in the first place, into the belief that the enterprise simply cannot fail. To do it takes a human dynamo capable of generating any amount of determination, enthusiasm, and executive ability. And Auckland was fortunate in securing the man with these qualities in Mr. Scott Colville, the managing secretary, whose capacity was not overpraised when spoken of in such appreciative terms at the official opening of the competitions at Hie Majesty’s, Auckland, on Monday, by the chairman of the executive; Mr. Chas. Hudson. It is impossible at this stage to offer any comment on the performances, which so far have characterised the proceedings. The first day was a singularly happy augury for the rest of the big anti busy week, now in the height of its activities. The public turned out in astonishing numbers to witness and hoar the various competitors both day and night. The Monday evening’s programme proved to be most interesting, and often aroused the house to enthusiasm, particularly when the judges—Mr. W. Paget Gale (music), and Mr. J. M.

Clarke (elocution, ete.) —gave a popular decision. Tire fiiH report of the proceedings must now wait till next week. Stray Notes. Dr. Charles Harnss has suggested in England that at all conceits at which his Imperial Choir sings they should open with "God Save the King,” immediately at the finish of which the choir should give three rousing cheere. This, of course, is all very fine and Imperial. but hardly likely to improve the tone of the voices for the next number. One of the Home journals suggests that the three cheers should come in as a finale to the concerts —but perhnaps Dr.

HarrisH thinks the choir would have no voice left l»y then, or at least no voices fit to give an Imperial cheer. In any case, there are limits to this sort oftawdry jingoism, as Dr. Tlarriss may find out if he'makes the same proposition on this side of the world. True loyalty requires no hysteria. The part of the hero of the J. C. Williamson pantomime this year—“ Jack and the Beanstalk”—will be taken by Miss Sybil Arundale, who is now on her way out to Australia, together with other new-comers, for the big Christmas attraction. Miss Arundale began her theatrical career at the age of seven, and from then on till she was about 13 played children’s roles. Then she took up pantomime work and appeared as ■principal boy regularly, either in London or in the provincial towns. She created the leading role in “Lady Molly,” and has also appeared in other musical comedies, including "The Cingalee,” at Dalys, and “The Merry Peasant” at the Strand. Shortly after her departure from London to fulfil her Australian engagements, she appeared in a comedietta called ’ A .Ward in Chancery.” The results of the National Band Coritest at the Crystal Palace on October 1 afforded, says the London “Post," tlte most striking testimony to the widespread nature of the movement. Some remarkably well-balanced skilful, and refined playing was heard in the championship section, for which there were seventeen entries. The Challenge liophy, valued at a thousand guineas, and the “Daily Telegraph” Challenge Cup went to Foden’s Motor Wagon Works '(Cheshire), conductor, Mr. W. Halliwell. ■The test piece was an ingeniously-ar-ranged selection from the works of Schubert. The Dwell Springs, conductor, Mr. A. Owen, was second. Caruso says: “No singer can be called a great artist unless his dictron is good. Smne persons claim that a pronunciation too distinct or too much insisted upon spoils the real voice quality, but this should not be the case if the words are (Correctly and naturally brought out. I would aver that a fine enunciation, far from interfering with it, aids the voice production, makes it softer and more concentrated; but diction should act rattier as a frame for the voice, and never replace it.” The Carl Rosa Opera Company, to whom belongs the credit of the first production in England of Carl Goldmark’s “Cricket on the Hearth, and more recently of the same composer’s best known opera “The Queen of Sheba,” has now acquired the sole rights in Friedrich Smetana’s “Zwei Wit•wen” (The Two Widows), which has never yet been given at Home, and will soon produce an English version of that work. Up io the present time the only opera of Smetana to obtain a hearing in England has been his “Die Verkalifte Braut” (The Bartered Bride). “The Two Widows” is a later opera than the one just referred to, and was originally heard in 1874. It has -a good plot, and the libretto is said to be genuinely humorous and the music of a very engaging character. Willie Percy, the irrepressible Marcelin of “A Knight for a Day.” now being played at the Melbourne Princess" Theatre, is an omnivorous stamp collector. As a rule Mr. Percy is early on the mat at the theatre and carefully scans the letter rack for anything of rarity in the way- of stamps. Recently, when in the West, he became acquainted with another enthusiast, who willingly showed his collection. The popular comedian having seen, gloated over and envied, returned the album, whereupon the owner, to the surprise of his companion, proceeded to count them carefully. “What are you doing?” said Mr. Percy. “Counting them. 1 always count them after I show the book,” was the reply. Philately is evidently a pastime that will not have a chance when the m’rlleuiikm arrives. - .