Music and Drama.

New Zealand Graphic, Volume XLV, Issue 18, 3 May 1911, Page 14

Music and Drama.

*7

BAYREUTH.

BOOKINGS. (Date. subject to alteration.) AUCKLAND-HIS MAJESTY'S. April 15 to May G J. C. Williamson (“Tire ■Whip") Co. Blay 9—William Aiideraon Dramatic Co. May IK, to June IO■»- J. C. Williamson June 12 to II MacMabou Bros. Joly 24 to August s—" Jack aud the Beaustalk." i i WELLINGTON—OPERA HOUSE. 'April 15, May B.—J. C Wllliauisou. Blay 8, 17. —Allan Hamilton. May 18, Juue 7.—J. C. Williamson. June 12, July I.—George Marlow. July 6, 20. Clarke and Meynell. August 17, 28 -J. C. Williamson. September 15. 30.—Clarke and MeynetL October 5, 25. .1. C. Williamson. iNovember 3, 16 —Clarke aud Meynell. December 2, 18. - Max Maxwell. Christmas Season. —J. C. Williamson.

The Demand of Intelligence. c Tt REPERTORY THEATRE in AusJ I tralasia! Why, to hear some -J 1 of our professional friends on the stage talk you would think that such a project was, if not utterly impossible, quite Utopian and visionary. It may be unfortunate, but it is true that the drama is a commercial commodity. It is made up into parcels to suit the popular taste, to please the common place intelligence of a commonplace people. Pieces are brought to Australia and New Zealand, boomed as the greatest successes of the age, and impressed upon the minds of the populace as the finest, the biggest thing'that ever was. In the meantime the legitimate drama goes begging. The art of the actor has to content itself with effete melodrama and vitiating musical comedies. The finer things of the stage are swamped in the ocean of mediocrity. Our artistic perceptions are overwhelmed. We may hunger in vain for the drama of life. But to expect that the professional management can give t us' properly cast and effectively staged plays snob as John Galsworthy’s “Justice,” John Masefield’s “Tragedy Of Nan,” J. B. Fagan's “ The 1 Earth,” or Rudolf Besier’s “ Don ” is to' be unreasonable. The value of these examples to a manager of modern drama can only be reckoned in dollars, It must be so while the State is content to allow the drama to be directed without control by private individuals for personal gain. It must be so while the public are content to gloat over the misconduct of the “Bad Girl of tire Family,” or mistake the realities of life in the artificial personages and false ethics of the musical comedy. The theatre managers decline flatly to educate the public. They no longer consider it a function for which they are morally or reasonably responsible. Private enterprise cannot be bothered with leading the publie. The greatest good for the greatest number does not exist in the considerations of the modern box office. It is a case of the greatest amount of sensation that will produce the largest return—in most eases.

. If, then, we can no longer look to the professional dealer in drama towards promoting claims of legitimate and intelligent plays, what is the future’ The future is wrapped up in the Repertory Theatre movement.

The only way of establishing a Repertory Theatre, without a large endowment, is by founding a school for the instruction of amateurs. Then, by strengthening various casts of plays with adequate' professional help, good performances will result. Such schemes have been discussed for some time now in Melbourne, and, according to “ The Booklover,” it has at last been seriously taken up by Mr. Gregan M’Mahon. Mr. M'Mahon's professional jireer as an actor has embraced loading work in plays by Pinero. Grundy, H. A. Jones. J. M. Barrie and other high-class plays in Australia and elsewhere, in engagements with Robert Brough, Herbert Fleming. William F. Hawtrey and J. C. Williamson. Here he showed work remarkable for its versatility and naMiralness, and that he has a faculty of changing his own personality with characteristics of the parts he assumes. iHe has had a large experieme in producing good remedy, and has already made his mark as • teacher.

Since he advertised in the Melbourne papers he has already received a large number of applications from prospective students, and already has sufficient to cast three plays, strengthened with professionals of known merit, and to play a week’s season in five or six weeks.

He has in rehearsal at present Maeter. 1 hick's-“ L’lnterieure,” the late St. John llankin’s “Two Mr. Wetherbys,” and Henryk Ibsen’s “ John Gabriel ißorkniann,” and another piece not yet decided on.

The first season will probably commence about May 17th. It is proposed to play on Mondays, Wednesdays, and Fridays, during two consecutive weeks, devoting two Mondays to “ L’lnterieure" and “Two Mr. Weth'erbys,” two Wednes. days to “ John Gabriel Borkmann,” aud two Fridays to the third play. The fees charged for entries at the doors are 5/, 3/, and 1/. Adelaide has a Repertory Theatre in full working order, and Melbourne is to make a bold bid for the means to let the public see into the finer- side of the drama. Both experiments may fail. These sort of ventures are always an uphill task, but they are doing a splendid work. The Anti-feminine Genius of August Strindberg. Among the giants of Scandinavian drama. August Strindberg, their last' survivor, is the most solitary of playwrights. Both Ibsen and Bjornson were brooding Norsemen; but while they lived Strindberg seemed less lonesome a figure. While he was not their friend, they at least were men of his own intellectual stature. Although Strindberg was born twenty years later than the other two dramatists, his most important' plays date from the same period as theirs. Strindberg was not a follower of Ibsen, but his greatest opponent.. If Ibsen spells the liberation of women from, conventional shackles, Strindberg's work is anti-femlrilne t'o the core. Like Nietzsche he admires th 4 Superman, but has no place for the Superwoman. We need not, therefore, be surprised that Mr. Ashley Dukes, a brilliant young British critic, speaks' of him as “the least popular of. the moderns.” In a century marked by the growing power of woman, Strindberg scornfully asserts his virile if brutal doctrine. “If thou goest to woman, forget not the whip." declares the Zarathustra of Nietzsche. The dramatic works of August Strindberg are largely an elaboration of this same dogma, When “A Doll’s House" appeared. Strindberg attacked the play violently, not from the standpoint of the Philistine critic who regarded it as an onslaught upon marriage, but from that of the philosopher who saw in it the first signs of the rise of feminism and the degradation of man. Strindberg claimed that Ibsen demanded altogether too much of Helmer and too little of Nora. The heroine of the Ibsen play, Mr. Ashley remarks in “The New Age" (London), seemed to him a puppet for the author’s sentimental propaganda. He would have none of Ibsen’s women:

“Hedda Gabler was for him simply a public nuisance, a candidate for the whipping post; Hilda Wangel, an upstart minx, born to drive men mad; Rebecca West a petticoated prig. In short, lie rejected the whole theory of emancipation for women and ordered them back to the kitchen. This leaning towards the sMe of the man is seen in all of Strindberg’s writings. It is shown most clearly in such plays as ‘Creditors.’ ‘The Father,' ‘Comrades’ and 'Th • Dance of Death,' where the man (in Strindberg’s view the creative force, and the only force of real value in statesmanship, science or art) is in each case hampered by marriage or association with a woman of intellect. If the man's will is weaker than the woman’s she robs him day by day ot power as a weasel siiclks the blood of a rabbit, until he is ruined. If his will la the stronger, there -comes a moment, in which he forces her to ker knees in subjection. and henceforth (since the Strindberg woman loves power above all else in the world) she is his loyal slave. Tne former case is the motive of most of Strindlierg’s tragic the second, of bia comedies.”

A StriadWrc Play. Strindberg’s attitude toward woman ia strongly reflected in “Comrades." a play originally written for the Theatre Lrbie in Paris. Axel Alberg and his wife, two Swedish painters living in Paris, have each submitted' a picture to the Salon. “You are jealous of me,” Berta remarks. “You would hate my picture to be accepted.” ~Axcl denies this. "But,” Bert's continues, “would it delight you if I were accepted, and you were not?” “it would annoy me," he answers “if only because I paint better than you do, and because—”

"You may as well say it at once.” she sneers, "because I am a woman.” “1 can’t deny it,” Axel admits. “> have a feeling at times that you women are intruders, forcing your way in and demanding the plunder for the battles we fought while you were still sitting by the fireside.” The news coinee that the woman’s picture has been accepted while th? husband’s has been refused. At once Berta adopts a patronizing tone and attempts to humiliate him.

Berta: And so you want to be revenged because you have b?en placed below me!

Axel: Nothing could p'ace me below you. 1 stood high above you even when I painted your picture. Berta: When you painted my picture! Say that again aud I will strike you!” Axel: You, you despise brute force? Well, strike me if you will.

Berta (aiming a blow at him) : Do you think I cannot? Axel (seizing both her wrists and holding them fast) : No, not that. (A pause). Are you convinced now that I am physically the stronger, too? Bow down or I will break you! Berta: Do you dare to strike a woman?

Axel:’ Why- not? I know only one reason why I should forbear. Berta:- And that is—? Axel: That you are not responsible for your actions. Berta: Ah, let me go!

Axel: When you beg my forgiveness Down upon your knees! (He forces her down with one hand.) Now look up to me from belojv! That is your place—the place you yourself have chosen! Berta: Axel! I don’t know you any longer! Are you the man who swore to love me, to help 'nle? Axel: Yes;” I was strong then, but you clipped my strength away, while my tired head lay in your lap. Y’ou stole away my power as I slept, and yet enough remains to crush you. Stand up! Enough of this squabble. Berta falls upon the sofa and weeps. Axel: Why are you crying? Berta: 1 don’t know. Perhaps because I am weak. Axel: You see! I was your strength. When I took back what was my own, there was nothing left for you. You were like a rubber ball that I blew out; wheit 1 threw you aside you collapsed. In the next act the picture arrives, but it is Berta’s, not Axel’s. Axel, playing the “good comrade,” had changed the numbers in order to give her picture a better chance. Now Berta is willing to end the quarrel, but he has had enough of comradeship. Henceforth, he says, he will have his comrades at the cafe, but only a wife at home. Plays like this, Mr. Dukes goes on to say. have gained Strindberg the reputation of a “brutalist.” He is full of play, however, though uncompromising in his intellectual attitude. His characters are not the determinist puppets of the modern realist drama, but virile creatures, gods and fighting men, with wills of their own. “They are not content to live, but they must criticise life.”

Is Only the Commonplace Normal ? “These characters have often been called unnatural and extreme, and so, indeed, they are, if we accept the commonplace as natural, and find truth in moderation. Strindberg possesses none of Ibsen's capacity for dramatising, and at the same time humanising, the bourgeoisie. He is the most intolerant of artist-philosophers, and his method of dealing with stupidity is cavalier enough. He ignores it. An historian of two thousand years hence, finding no record of this age but Strindberg’s plays, might be pardoned for assuming that it was peopled almost exclusively by painters. poets, sculptors, journalists and au.thpi'K of both sexes; #ll of them persons with very bad manners aud very sharp wits.”

Of all living dramatists, Strindberg, the writer assures ua, strives highest. His failings are the failings of ths craftsman unable to set so prodigious a scene convincingly upon the stage. - Moreover, the • characters of his playa must fight not only their own battles, but also those of their author. He shifts his ground constantly, growing from play to play. From the verse drama, he passed to modern naturalism,. from Swedenborgian mysticism he again passed to historical drama, and again through dream plays and legends to modern chamber plays and lyrical fantasies. “Miss Julia,” a naturalistic tragedy. is considered his masterpiece. His audience is. of necessity, small. He seorns the world in petticoats, but he ia almost equally alone in all spheres of existence. His plays are not for the many nor, Mr. Dukes insists, are they for what are termed “the cultured few.” Strindberg loathes "the cultured” with an unutterable loathing, as long as their culture means no more than good manners, good taste, academic familiarity with literature, University education, and a respect for the prevailing standards of religion and morality. They are Apollans; he is a Dionysian. He estranges the revolutionists by his contempt for politics, the feminists by his attitude towards women, the romanticists by his naturalism, and the realistsby his mysticism. Only the philosophers remain, and he does not «peak their language.

Frantic Enterprise. Elaborate arrangements are already being made by cinematograph firms for securing records of the events of Coronation Day in London. Their task is made the greater by the demand of pro prietors of picture palaces that the films shall be supplied for exhibition the slime night. In all probability, indeed, the, events of the day in the metropolis will be reproduced in moving pictures-in the threatres of Paris late in the evening. One or two of the more ambitious, firms are hopeful of obtaining sanction to be present at the actual crowning ceremony, but even if this were granted the bad artificial lighting in the Abbey would render the taking of moving pictures impossible. It could only be done by the aid of powerful electric lights' placed round the walls. The film which will be rushed over to Paris will show the progress of the King and Queen from Buckingham Palace to the entrance of the Abbey. Their Majesties will leave Buckingham Palace about noon. A number of operators will be stationed along the route. After taking their pictures, they will catch a train from Charing Cross, develop the films en route, and arrive in Paris soon after nine o’clock, in time for a.special exhibition.

Ylhna wOl be dispatched by the - first foreign mail after the ceremony to all parts of the globe. Efforts are to be made- to exhibit them the same evening •t >--l(iverpool,' i Manchester, Sheffield, Leede, Bristol, and Birmingham. Roughly •peaking, each film will measure between #OO and. 800 feet, the purchase price Varying from £ 8 to £ 12, but longer films will be necessary on the day of the Royal progress through London. Extra operators are to be brought over from Paris and Berlin, and at the end of the season the leading firms will' have ready a special film chronicling all the important events of the Coronation year, including the naval and military reviews at Spithead and Aldershot and the Investiture of the Prince of Wales at Carnarvon. As soon as the Coronation season is over the firms will concentrate their energies on the Delhi Durbar, and a small army of operators are to be sent out. Auckland Liedertafel. The Auckland Liedertafel, under the direction of Dr. Thomas, opened their Beason at the Choral Hall on Wednesday and Thursday last with no particular promise of brilliance in their programme. The audience were disappointed in the non-appearance of Mr. 8. McLean, the ’celloist, who became seriously indisposed the night of the concert. The Lyric Quartette, at short notice, did their best to fill the gap, but when a body of voices, first in the competitions of last year, take to singing that wellworn Hackneyed song,' '‘Anchored,” arranged as a quartette, it really gets a little beyond the normal powers of endurance. One must perforce leave many things unsaid, seeing that the Quartette saved the Liedertafel from an otherwise embarrassing situation. The vocalist, Miss AiTeen White, is not yet up to the standard that ought to be associated with the platform of such a body as a Liedertafel. No doubt, like good conductors, good singers are scarce. She has a light soprano voice, very fresh in quality in the upper register. Before attempting such delightful efforts of vocal composition as Liza Lehmann’s “The Wood Pigeon” and “The Wren,” a singer ought to have at least, mastered the art Of phrasing, arid learnt to produce his of Her voice with sufficient ease,’so as' hot to make , the rendering 1 ' for it's flavys of technique. Miss White, whilst she has youth, and undoubtedly a voice well worth much more serious cultivation, has not yet acquired those qualities of a concert singer, which would otherwise render these somewhat disagreeable remarks unnecessary. She was encored, and received a bouquet and all that, but criticism kindly given can do no harm. Mr. Barry Coney was the success of the evening. He gave a fine musicianly rendering of Henschel’s dramatic song, “Young Dietrich;” It is good to hear such efforts, and see such'choice in evidence on the concert platform. The rendering throughout was well phrased and intelligible. His accompanist was somewhat patchy, and failed to support the singer in the closing section, which should have matured with more fire and intensity of expression. Still it was" a fine effort, and well deserved the enthusiastic recall. ' The ” encore/‘ “The Rosary,” was well-suited to the popular taste, but as for its musical value one can but murmur alas! Lohr’s fine song, “Where My Caravan has Rested,” and “The Rain's Messenger” (Martin) were also well sung and encored. The part song “Servian Serenade,” with a solo for a tenor, gave the Liedertafel an excellent opportunity to display its talent. Mr. McDougall, who sang the solo to the accompaniment made by the rest of the voices singing “bouelre fermee,” (lid not produce a strong effort. It was altogether a disappointing performance of a number that might otherwise have been quite effective. ' > The programme of the Liedertafel itself was on the whole well-chosen, the part songs. “The Owl and the Pussy Cat.” and Dard’s “Night and Day” providing good music. The rendering of the former was altogether too heavy arid lifeless. The humour of the composition was almost wholly lacking. “Comrades in Anns” (Adolphe Adam), the opening number, was well rendered throughout, but the majority of the selections could jiave done with more effective rehearsing. The quality of the first am<T second tenors was not always, pleasing either. llt. Thomas’ own composition “Tri Arina” was given with strength and effect. It

Is an inspiriting written around the call “To Arm*.” Patriotic composition's do not usually suggest true musical felicity. There is a scholarly exactness in the score that in the present t case gives no offence to contrapuntal conventions. But what a theme to take for musical composition! There is something that hurts about musical effort/ which, in thte twentieth century, is given to gloze over the horrors and the wickedness of war. What ecstasy of inspiration can, in its inherent spirituality, be .associated with lines such as “When the Foeman’s Ranks are Reeling O’er the Slain,” or “To Share in the Triumph or Their Bloodstained Grave?” One can but sincerely hope the able and cultured doctor, who controls the destinies of the Liedertafel is not going to be numbered amongst that unspeakable of most afflictions—the musical Imperialist?

Wellington Competitions. The Wellington Competitions are assured of existence at last. When the proposal was first mooted .in the Capital it fell through for lack of interest and pertinacity. The meeting of the newlyformed Committee during the past week has demonstrated that the project has a body of keen, enthusiastic workers behind it. Wellington did not disdain to get assistance from Auckland,' because the man who had the experience and the capacity for making successes out of these somewhat risky ventures was resident in the Northern City.' So Mr. Scott

Colville, Managing Secretary of the Auckland Competitions’ Society, was invited to furnish remits and suggestions in regard to running .the Society and the conduct of the Competitions. He spent a busy week in conference with the Committee and Secretary Dykes/ pointing out amongst many things that the total expenditure of a 10 days’ competition would amount roughly to fBOO. The most anxious time for the Committee in connection with the competitions, he said, would be the week in which the entries closed arid from that on till the drawing up of the time-table. It required a great deal of time and work, for the time-table must be very carefully worked out. So long as they allowed in their time-table for coriipetitors dropping'out they would all put in an appearance, and everything had therefore to be worked out with the greatest accuracy and minuteness. The syllabus was of a very comprehensive order—quite as comprehensive as any in the Dominion. He had riot attempted to choose any selections. It was eventually decided to secure the Town Hall for the Competitions, and to ask the following to take the position stated:- —Choosing vocal and elocutionary selections, Mr. Baeyertz; instrumental selections, Mr. Robert Parker, or; failing him. Mr. H. Gregson, of Auckland; brass instrumental test pieces, Lieutenant Herd; judge of music (vocal) and elocution, Mr. Baeyertz; literary, Mr. Charles Wilson; instrumental music, Mr. Gregson;' accompanist, Mrs. Montague. ' The syllabus recommended by Mr. Scott Colville was adopted With the addition of a comedietta, and a Vote of thanks was also awarded to the Auckland Secretary for the information he had imparted.

The Second Dooe TUa Tear. Having digested a full and fearoonie season of melodramatic productions dealing with the private history of reprobate daughters of the family, New Zealanders are now invited to partake of a new banquet under the aegis of Mr. William Anderson. This time it is “The Prince and the Beggar Maid,” a picturesque, romantic setting of life and love familiar to the devotees of “malodrama ” One of the Melbourne journals laid of it at the time of production: “Not for a long while has a work so full of interest, of colour, of life, and of movement, been staged at a Melbourne theatre. It is w melodrama of the highest class, with a saving sense of restraint running through it. It is a breezy, spirited, attractive production, and as sueh the crowded King's Theatre acclaimed it on Saturday night last.” We are assured of something like an adequate representation in keeping with the spirit of the piece from the fact that Harry Roberts and Beatrice Day are billed to appear in leading parts. Included in the cast also are Messrs. Conway, Wingfield, C. R. Stanford, Walter Dalgeish, Florence Richter, and Kenneth Brampton, a new arrival from Home. Auckland will, in New Zealand, get the first taste of the company, the opening night at His Majesty's being fixed for Tuesday, 9th inst. “Right is Might”—one of those truly romantic versions of ranch life out “in the Wild West,” and Wilson Barrett’s “Lucky Durham” are also in the repertoire of the approaching season.

Via Wireless. With the exception that it was much better 'staged, and in several instances considerably better acted, “Via Wireless,” the second production of Mr. M illiamson’s Dramatic Company in Auckland, has little to recommend it from the ordinary melodrama, to which we are so well accustomed. True, it does not drip blood and reek with every imaginable crime, and for this one is truly thankful. A big feature is made of various spectacular settings, such as the casting of big guns, the “wireless” room of an ocean liner, the wreck of a yacht, and the rescue of those on board. These are all difficult enough to portray on the stage, but the representation was as near the real thing as possible. The -interior of the foundry with the red lights of the furnaces glowing in the gloom is an effective piece of stage-craft, but in this, as well as other scenes, the action needs smartening. There is a tendency to drag at times, and an occasional need for more rehearsal. Doubtless, however, these faults were more or less inseparable front the first performance, and will be rectified as the season progresses. The plot has been fully summarised in these columns, and it is not necessary to recall it. So far as the players themselves were concerned, by far the most striking performance was that of Mr. Ambrose Manning as Smith, the veteran foreman of the steel works. He was quiet and forceful throughout, and in the final act did not 'overdo his opportunities. Mr. Lionel Atwill and Miss Evelyn Kerry thoroughly pleased the audience. Mr. Vivian Edwards, Mr. Eardley Turner, Miss Emma Temple, and Mr. Charles Blaekall sustained their respective parts with credit. Mlea

Georgie O’Meara and Mr. Robert Bottoniley were responsible for a couple of comedy scenes, which were liberally applauded. Mr. Stewart Garner, who is supposed to portray a drunken, bullying mechanic, was not at all convincing. Taken altogether, “Via Wireless” should attract large audiences of lovers of “live” drama, and doubtless it will. The story is not without interest, and the audience is’ provided with plenty of thrill, what with the scenes in the steelworks, the wreck and the summons by wireless, ’ and the final rescue scene, where the lights of the big liner, coming in response to the messages of distress, are seen glimmering through th“ darkness. “ Henry of Navarre.”

"Henry of Navarre”—an historical melodrama with a picturesque setting in scenery and costume, is to conclude the last two nights of the Williamson season in Auckland on Friday and Saturday next. The plot circles around the llugenot massacres which distinguished the religious wars and bloodshed of the medieval ages. The new play is said to be crowded With historical personages. Catherine de Medici, Charles LX., the Duke of Guise, Henry of Navarre, and Marguerite of \ alois. Thia love story of Marguerite ami Henry de Bourbons is interspersed with sensation and thrills Unit invest the play with the romantic glamour of these troublous times. As history it is no more o.” no less than any other melodrama. Stray Notes. ' n ‘

A Dutch paper is responsible for the assertion that Puccini’s next opera will be on a libretto by the Dutch poet, Heyermanns, founded on an incident in Dutch history of the sixteenth century.

A correspondent of the “Bulletin” tells the following story as illustrating how a man with a fad may entirely lose all sense of proportion: Professor Thunder’s marrow-freezing act, with three poisonous and irreconcilable man-eating tigers, was. the sensational feature of the show. The eaged ring was being prepared for this horrifying turn, when Agnes, the matronly tigress, awoke from her customary lethargy, and seized on a helping of “supe.” This attendant was bearing a set ,pf pjne' steps at the time, and, fortunately for him,..Aggie took in a portion of the timber along with her mouthful of man., Agnps for, onep was degf to the ’’^ern;,dictates of Profess.or Thunder. The Lord help? those who help themselves; — so the tigress clung to her “supe.’.’. Of course excitement ran high, the uproar was .terrific. Red-hot irons were introduced, and, amidst shouting and scream?, and the clamour of beasts, Agnes was burnt off her prey. Next day Cain and Playbill discovered thet an eminently respectable resident from among their audience had reported them to the Society for the Prevention of Ciaelty to Animals for singeing Agnes. ' The publication of Wagner’s autobiography in May should be one of the most important literary events of the year, and will doubtless throw much light on' many disputed questions.— These lines from the London “Leader.’* Last month Dr Hans Richter bade farewell at Manchester to the Halle Choir, of which he has been the conductor for eleven years, in succession to Sir Charles Halle. He was presented with a silver casket with the inscription: “A token of appreciation and affectionate regard from the members of the Halle Clioir to Dr Richter, on his retirement. ' Manchester, March, 1911.” Mr R. 11. Kenyon, chairman of the committee, in handing the casket to Dr Richter, recalled that Halle said: “If there is a man in Europe whom I should like to stand in my shoes when I go henee. it is Hans Richter. He is head and shoulders above other conductors.” Halle had been proved right. Riehter was the greatest man who could have been called to Manchester. To sing under him was an inspiration and a revelation. Dr Riehter said he should never forget the happy hours lie had spent with the clioir. He could only wish the choir and concerts long and continued success.

Hans von Garnier, a boy musician, in whom the Kaiser is interested. lias been, according to the "National Zeitung,” instructed by his Majesty to write him an opera. Six years ago, when only ten.years old, the boy wrote a Grenadier March.. As he is the son of n general:. it .was brought before the notice of the Kuiserj Avho promptly ordered its inclusion. in the list of so-called army marches for infantry and cavalry. Recently the lad wrote a Review March

to be played during the "Present" when the Kaiser passes down in front of the troops. lliis was played by the Kaiser’s orders at a banquet in tlie casino of the territorial battalions. The Kaiser also sent for the youth, and strongly recommended him to try his hand at grand opera. “ft would give me great pleasure.” said the monarch, “to attend the performance of a Garnier opera.” Melbourne University Dramatic Club •re to do next week J. M. Barrie’s *Alice-sit-by-the-fire.** Their last pro* duetion was Galsworthy’S “The Silver Box.”

Latest London joke.—Big fat eighteen stone Pelissier—king of that delightful troupe of satirists, “The Follies,” isr now masquerading as Maude Allan. iu a Salome dance. The burlesque is said to ibe the funniest thing on reeord. “Via Wireless — CXJIDi”' (“Come Quickly. Danger!”) has not been pro* dueed in London. It was staged last month in Glasgow and is to be given in the metropolis later. The harp is one of the oldest musical instruments, and in aneieut timss and during the Middle played am important part in the history of music. As an orchestral instrument it was much used by Berlioz and other notable modern composers, while as a solo instrument it was in vogue up to the early part of last century. Within recent times interest in harp playing Seems to have revived.

From the New York “Evening Post”: , What does Puccini think of Wagner’s '"Tristan and Isolde?” The answer to this question was given the other day to Dr. Halperson by Mr Gatti-Casazza. Nine years ago “Tristan” had its first Italian performance at the Scala in Milan, of which Mr Gatti-Casazza was the manager, and Mr Toseanini tire conductor. The best Italian singers’ had been engaged, and there was much e» piusiasm. after each curtain.. Theue'wers unbelievers, however, and one- of these said to Puccini: "What horrible music! It is really barbarous!' How 1 look forward to the next performance of vour 'Boheme,' which will be a real joy after this impossible music.” But Puccini exploded- like a bomb. “Sir!” he exclaimed, “are you trying to make fun of me? You surely cannot utter such nonsense seriously. Do you not know that we have just heard the greatest musical masterwork of all time? And you dare to mention my "Boheme* in the same breath with this wonderful score!” The famous Besses o’ the Barn band reached Plymouth last month on the .White Star liner “Runie,” after a seventeen months’ tour, during which they have travelled 46,000 miles, visited 173 towns, and given 526 concerts. The tour embraced South Africa, Australia,. New Zealand and Tasmania. The band went but thirty-three strong and returned three short of that number. Bandmaster Smith remained in Adelaide to take charge of" the city tramways band; Mt Byers, one of the solo hum players, also secured an engagement in Adelaide; and Mr Ryder, a cornet soloist, received on appointment at Melbourne.

It will be news to most people- that .the air of the classic ditty, “We won’t go home till morning”-—which is, of course, a variation of “For he’s a jolly good fellow”—was originally the music of a pathetic French folk song. It will ibe a surprise also to learn that “The Marseillaise” was composed by a German at 'Strassburg in 1792. The music Of the “Star Spangled Banner” was Originally Stafford Smith's glee to “Anacreon in Heaven,” so- that America’s principal patriotic air was set to the music of an English composer. Our own national anthem was evolved from ft musical manuscript discovered in 1522 by a Dr. John Bull: At the first concert of the* season of the Sydney Amateur Orchestra! Society a performance of Mr. Alfred Hill’s song “Tangi” was given. Speaking of the occasion the “Telegraph”' stys: —"Mr. Alfred Hill’s reputation as a composer is so well known that those present were not surprised to discover melodic charm and spirit in his song, “A tangi,” a Maori lament over the lead body of a chief. Mr. Hill has caught the real spirit of the mourners as tirey sing the praises of the dead, and the change from the dirge-like character of the mneic to the impetuous defiance of the words, “Once he waved his mere on high,” where the singer chants the war song, “Ake, ake, kia kalis!” was thoroughly dramatic. Mr. Arthur Apjrieby sang the solo artistically, while, with Mr. 11. Staell as leader, the orcheatbal •core, in which Mr. Hill lias made- very effective use of the wow! wind and brass, Was admirably played. Mr. Hill; who conducted, »u revelled wuth Mr. Appleby”