Music and Drama.

New Zealand Graphic, Volume XLVII, Issue 3, 17 January 1912, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (bates subject to alterations HIS MAJESTY’S THEATRE. ?>' Season- H B. Irving. January 26 to February . 15—New Comte Opera Company. April 6 to 20—“Everywoman" Company. June 24 to July 6—Pantomime. July 22 to August 3—“ The Blue Bird." September 30 to October 12—Oscar AseheLily Brayton. WELLINGTON OPERA HOUSE. In Season.— "The Speckled Baud Co. January 25 to February 14—II. B. Irving Co. February 15-22—New Comic Opera to., J. C. Williamson. Ltd. Marell 10 to 26—Allan Hamilton Dramatic Co. —“The Chocolate Soldier" Co. April to May 18—Marlow Dramatic Co. Maj* 25 to 28—"Everywoman" Co. July 17 to 30—J. C. Williamson, Ltd., Pantomime Co. August 14 to 27—“ The Blue Bird" Co. October 19 to November 2 Oscar AscheI.ily Brayton Co. November s—" Ben Hur" Co. The Moscow Experimental Tlieatre in the “New Age,” ■ll Ml ’ Hunt, - V Carter gives an 111. interesting account of the Moscow Experimental Theatre. With regard to physical equipment, there is nothing very remarkable about it, beyond a complete and up-to-date electric room. The theatre is spacious throughout and restful; it has a very large stage, (larger than that of His ■Majesty's Tlieatre, London), provided with a revolving section. Of the lighting appliances Mr Carter remarks:—“ln the evident desire, shown in the number and variety of electric appliances, to solve the problems of lighting by the application of the latest advances in electro technique, it passes from the conventional theatre to the laboratory. Perhaps here the problem of attaining the effect of direct sunlight or diffused light is nearest solution. The Mental Equipment. “ From the building I came iuevnably to its directors and to the second question: bow is the theatre mentally equipped? With a union of the artistic and practical, was the reply. Both the directors and every member of the staff appear to be liberally endowed wit h taste, and judgment. The decorators and electricians understand ti e laws of the stage and the demands of the scenic materials. Even the wig maker and costumier are artists. “Given a combination of the sort, and the impossible may be developed and achieved. This must be the meaning underlying the accomplished secretary’s, Mr, Lykiardopoulos. words when ne reminded lauidon that it had for years been regarding Mr. Gordon (raig as a visionary, and it was now the privilege of the Moscow Art Theatre to announce lie is a visionary no longer. Owing to a practical consti; fution of the theatre it had been aide to take Mr. Craig firmly by the •hand and to lead him (greatly protesting, no doubt) into the light. In short, tlm Moscow Theatre has found Mr. ( raig and patiently and persistently transmuted his fancies to solid gold. Mr. Craig is to be congratulated. It is extremely doubtful whether he ever would have found himself. The Theatre as a Club. “ It did not require a deep penetration to see that the company has also the nrtistie and practical character. It is isiund together by a common sentiment, love of the theatre and drama. Indeed, to rta members the theatre is a centre affording for probing the most intimate secrets of the dramatic form of art. They live, work anil play in the theatre. How unlike the English actoi;, to whign the theatre only spell-, treasury, and who is forbidden the, theatre except at special moment. As a rille he is rigorously kept out of the auditorium while ('hearsal* are on, and is given a detached fragment .of the play to study, which lie must learn either at home when the missus is shopping and the kids a be J. or during rehearsal Imlonced on one leg

supporting the scenery, or 'in the nearest pot-shop over a convivial beer in pewter, tn Moscow the actors are artists who passionately love their form of art; in London they are mummers with the soul of a deboshed beetle.” Free Lunch and Paid Rehearsals. “It was while sampling the excellent lunch that the 'management gives its company during rehearsals that 1 arrived at the question of economics. How are ■the actors paid? How treated? What advantages do they derive from the cooperative system? Without going into figures it may be said that they are paid adequate salaries. Even the ’walks-on' receive a living wage. The Drury-lane - eighteen-sliilling-a week-find-iall-your - modern - wardrobe- extra-people are unknown. Furthermore, they are paid for rehearsals and fed during rehearsals. There are no long periods of semi-starvation and walking home at daybreak after fifteen hours’ rehearsals, as in London, where professionals rehearse sometimes nine and ten weeks at a time without payment of any sort. •Show me the British navvy who would work nine weeks for nothing."

A Profit Sharing System. In addition to the advantages mentioned above by Mr. Carter, the members of the company enjoy the furhter advantage of a profit-sharing system. They start as students, and having graduated, as it were, they are allotted a certain number of shares in the theatre, and so acquire a vested interest in it. And what about the financial side of the matter? Here is what Mr. Carter has to say:—“That .the general results of the Moscow theatre system are satisfactory is .beyond question. The theatre is a paying concern, and this without puff's of any sort. It attracts large audiences and influences them. Its influence is not altogether in one direction. It proposes to build a new theatre at a cost, of £lOO,OOO as evidence of its versatility. Such a proposal coming from a private company, and one, moreover, pledged to art, would, in England, be sufficient to cause Philistines to fall dead of apoplexy.’’ Loudon's Failure. London reveals a very different statv of affairs. There a complete failure of all attempts to establish either an intellectual or an art theatre confronts us. We find the Repertory Theatre at its last gasp. Driven from hole .to corner, it is making a last stand in London’s smallest theatre. Mr. Herbert Trench has retired from business. He is no doubt convinced that the market for artistic drama is in a bad way, and is resolved to lay aside directorship till the market revives. The breakdown of the- Repertoire Theafre—inspite of the huge benefactions of Mr. J. M. Barrie—and the retirement of Mr. Trench, have nothing more in them than the fact that the whole business has been grossly mismanaged. It has. in -fact, been in the hands of showmen, whereas it should have been in those of practical artists. Whether .the responsible persons intended it or not, there is no doubt that they have obtained a very considerable advertisement out of it. But unfortunately the effect of the showmanship and the advertising. instead of filling the theatre, has been to fill the columns of the “Financial News." Indeed, if hustled productions, quick-change programmes, lack of intelligent organisation, absence of the spirit of co-operation and research, as well as of artistic production of plays, neglect of truth and beauty, picture-palace realism, old fashioned tricks of stagecraft, np real conception of the theatre, a mania for producing plays for two or three performances at a time, in itself an idiotic system of frightening and fatiguing a long-suffering public—if these nn-1 other blunders have served any pur-po.-e at all it is surely that of emptying, not filling, the Repertory Theatre. Where the Fault Lies.

Mr. Carter deprecates blaming tha public for the failure of English repertory theatres, and stigmatizes such censure as “the last resort of the artistically destitute.” Thia is his explanation: “Ths Inference |s that the wrong peo-

ple pre being invited to. patronise art, just as the attempt of artistic philanderers and muddled economists to establish an endowed playhouse proves that the money people are patronizing the theatre. Art-ncver does rise to new. and higher things on ancient stepping stones of its dead.self- It is a flagrant mistake to assume anything of the sort. I maintain art lives in new forms alone, and sueh forms demand new powers of vision, of interpretation, of appreciation. These are what both art and the drama demand to-day. They need for one thing an entirely new type of patron, and till this patron comes forward the outlook for art and the drama will be anything but rosy. Though I press for an aristocracy of brains, I also press for money to accompany the brains. Today patrons with brains and no money are practically useless. The economic fallacies of the past generation or two have strengthened the general conviction that it is useless to have ideas without the money to carry them out. In an ideal state the conviction will doubtless be reversed to: “It is useless to have money without intelligent ideas necessary to circulate it.” By the time the latter conviction is reached, money will have ceased to circulate altogether. The Lure of Light Opera. Although “Der Roseukavalier" cannot be called by any means a comic opera, yet it is avowedly an experiment in 'the Mozartian style of opera, which is considerably lighter in tone than the majority of grand operas. And now the composer has gone further, and has composed music to take the place of the ballet in “Le Bourgeois Gentilhomme.” Notwithstanding the complexity of its workmanship, the music sounds very sweet and simple, while the accompaniments are written for a chamber music orchestra of solo instruments with pianoforte, harmonium, and cymbals added. The libretto has been adapted by Hugo von Hoffmansthal, the librettist of “Elektra,” and of “Der Rosenkavalier.” When M. Jourdain desires entertainment for his guests, he finds that a grand opera company and a comic opera

company are available. ‘ To avoid ' the necessity of making a choice these are permitted to perform simultaneously the story of “Ariadne on Naxos," being thus displayed in two lights. One can easily imagine the delight with which the composer has seized such an opportunity. Straight Comic Opera. In the meanwhile, Leoncavallo an<l Puccini have gone further. Almost simultaneously comes the announcement of the, intention of both these composers to enter the field of comic opera. They will find they have no mean competitors in Lehar, Fall, and Oscar Straus. The composer of "Pagliacci” will collaborate with Mr. Edward Morton, the author of “San Toy” and the adaptor of other big musical successes, and together they will, provide London with a musical comedy, which is, however, to be produced first in Milan. Leoncavallo has been to see “Peggy" and “Luxembourg" and The Quaker Girl” to attune his ear to the popular taste, and the result will be seen when he produces his score. “The Joy of Life” is the title of Puccini’s first comic opera, on the composition of which he is now engaged. Bui 1 lie-Jones Scenery. In one of the scenes of “The Golden Land of Fairy Tales," the piece with which the Aldwyeh Theatre reopens its doors, .the audience will enjoy the rare, spectacle of a stage reproduction of Burne-Jones' pictures of “The Briar Rose. ' “1 believe that an experiment of this kind has never been attempted yet on the stage,” Mr. Archdeacon, the general manager of the Aldwyeh. told a “Daily News" representative. “Pictures have been reproduced in tableaux," he added; “but, so.far as I know, they have never been done in a whole scene as we shall do it here.” It is due to the courtesy of the owner of the pictures. Sir Alexander Henderson, M.P., who allowed the scenic artist of the Waldorf to copy details from BurneJiones’ canvases at J’Buscot, in Berkshire, that it has been possible to intro duce so original and attractive a scene in “The Golden Land of Fairy Tales.” The pictures, whieh cannot, of cou’-se. be reproduced exactly, are to illustrato

in the piece the popular etory of “The bleeping Beauty.'* Restaurant Music. A correspondent of 4he "Westminster Gazette” recently gave an amusing experience that he had'at a well-known restaurant. While the guests were supping or dining, the orchestra played a selection of excellent music, ineluding •the Mendelssohn Violin Concerto. The leader was trying a valuable violin, which probably accounts for the choice of the eoneerto. At any rate, the performance was magnificent. A few days later a customer sent the following letter of complaint 'to the manager: — "Dear Sir, — For Heaven’s sake, stop the unties of your musician. Let him play something. For three-quarters of an hour to-night he has done nothing but tune up his fiddle, for which he was applauded by his musicians, who seemed to relish it very much. 1 think it disgusting that should be allowed to practise scales and be applauded by his men for over three-quarters of an hour.” (This is about the Concerto of Mendelssohn.) "He has not played anything since 7.45, and has quite upset my party.” Of course, to the musician this forms very funny reading, and, indeed, one can hut wonder at the constitution of. the man, however unmusical, who can ■confuse the Mendelssohn concerto with tuning up a fiddle, yet otherwise there is something to be said against the choice of such a piece during a meal. Am English Chorus.

"I am very proud of my London chorus,”- Mr. Oscar Hammerstein recently said to a representative of "The .Standard,” “and I have most excellent reason for being so. I created it. There are 125 most agreeable young people—twelve tenors, ten second tenors, fifteen baritones, and the rest basscis. . Then the girls include forty high sopranos and the rest mezzos and contraltos. Please notice that I do not say bassi or eontralti. Why shouldn’t 1 speak English while 1 am about it, eh?” Mr. Hammerstein threw himself back in the ehair he always occupies throughout every performance. “I am always here at night, never in front with the audience. It is just the same at my New York theatre; for five years I was always in my seat on the left side of the wings. 1 never put my foot in the auditorium once But to continue about my ’chorus—they are all English, every one of them; all with homes here in London, and all, .1 hope, earnest students of music. How did .1 find them? That’s it. In Paris, liail J wanted an operatic chorus, I could have found two hundred trained voices in as many minutes; and so I could anywhere on the Continent. It is a profession of itself. They all know at least a dozen operas or more, and they have all been trained to act. But not so in London. Nobody seemed quite 'to understand the position that a chorus should occupy in grand opera; the only chorus people seemed to think about were the earry-my-dog, take-me-out-to-supper girls of musical comedy. I did not want that sort of x-horus. I have found 'them, picked them all out, only by slow degrees, and by weeding them again and again at rehearsal, until I felt, I knew, I had got the right material. These young men and those young ladies, I hope, regard mo ae a benefactor. They have been introduced to a profession, and every day they are learning, learning, and they will" continue to learn.” A Musical Event.

Wiiat promises to be the most important musical event of the present season will be the visit of Professor Sevrik, the celebrated teacher of the violin, and founder- of the well-known method which bears his name, who is coming to London expressly to conduct an orchestral concert at the Queen’s Hall, when he will be assisted by six of his most advanced pupils, at present studying at the Imperial Royal Academy of Music in Vienna (says the "Musical sStndard”), The Queen's Hall Orchestra has been engaged, and the pupils abovementioned—Fraulein Rosa Ehrlich, Fraulein Nora Duesberg, Miss DaisyKennedy, Mr. David Hovhstein, HerrVladimir Resnikoff and Mr. Frank Williams—will each play’ a movement or movements from the violin works of Paganini, Beethoven, Brahms, Vieuxlemps, Wieniawski, Max Bruch, and .Max Reger. An interesting experiment ■will be the division of the Brahms concerto between two of the soloists, Herr Besnikoff being responsible for tire first movement ■ and Fraulein Duesberg for the second and third. Following the Queen's Hall concert, each of the per-

formers is to give a recital at Bechstein- Hall, commencing with that of Fraulein Ehrlich on December 14, the others’. following on successive days. The. musical public will thus have an opportunity of judging the powers of these exponents of the Seveik school of violin-playing in solo work. A Great Violin Teacher. Professor Otakar Seveik was born in 1852 in Horazdowitz, Bohemia, where his father was a school and a choirmaster. He studied at the famous Conservatoire at Prague, and even in his student days first conceived the ideas of writing a method for the violin which should reduce the technical difficulties of the instrument to something of a science. Endowed with wonderful powers of reasoning, he contrived some, exercises which by following the anatomical requirements of the muscles of the hands, assisted greatly in their development, and thus he laid the foundation for a violin school which has great and far-reaching effect in changing the system of violin playing. The professor was himself a player of the highest attainments, but his intense nervousness on the platform made him give up playing in publie, and devote himself to teaching. He was for eighteen years Professor at the Imperial Conserv-

atory at Kieff, and later held a similar post at the Conservatory of Prague, where he trained Kubelik, Koeian, Zacharewitscli, the Seveik Quartet, Ondricek and many others. During the past few years he has resided in Vienna, where he is principal Professor at the Imperial Royal Academy of Music. " This is the Professor's first visit to England, which he holds in peculiar affection, as he has had many brilliant pupils from that country. The advent of Kubelik, who created an almost unparalleled sensation in London, drew attention to his teacher, and since that time be has sent forth many gifted English pup’rls. Marie Hall, Marjorie Hayward and Vivfcn Chartres are all English girls who have made a name for themselves in their own country, and there are many others who have taken up positions in foreign lanfis, while the list of foreign artists from the Seveik school who have visited England is a very formidable one.

John McCormack. The visit to Auckland of John McCormack, the celebrated Irish tenor, is creating an extraordinary amount of interest, and it looks as if the Town Hall on Thursday, the 18th, will be taxed to -its utmost to accommodate those who are determined to hear the famous young Irishman. The name of John McCormack has been made familiar to many through the medium of the gramophone, as his records are always in great demand, and a very fair idea of his glorious voice can be obtained from the machine. Mr. McCormack has won much of his fame by hie perfect singing of ballads, particularly the old melodics of his native land. Gifted with a beautiful voice, light in texture, exquisitely placed, ami of that quality that carries all before it in love

songs, his <irging is marked by perfect ease of production.' -The great tenor will have as his associates for the concert on Thursday •' Miss RoAhia Buekmann and Mr. Alfred Kaufmann, two principals from the Melba Grand Opera Company; and Mr. Spencer Clay, solo pianist. The concert given in Wellington last week was an enormous success, every seat in the Town Hall being sold before the doors were opened, and according to the demand for seats for Thursday’s concert, Auckland .is going to give John McCormack a big and hearty welcome. A New Prima Donna. Miss Felicia Lyne, who made her debut in London as Gilda in “ Rigoletti,” at the London Opera.’ House, is hailed by the newspapers as a great star. Mr. llanimerstein speaks of her as a new Tetrazzini, but this may be excess of managerial zeal. Madame Melba’s opinion of a possible rival is more likely to be unprejudiced—in the question of favourable appreciation, at any rate. To a "Sydney Herald ” interviewer, Melba stated: — “ I discovered her for Mr. Hammerstein. when she was at Mme. Marehesi’s, and in spite of all that about ’ first appearance on any stage,’ she has been singing iii light opera all over the United States for at least a year past. The voice Is

rather a small soprano, but tuneful and briliant. She is now about 23 years of age.” Miss Lyne is only sft. lin. in height, and weighs seven stone, so that as far as, physical qualifications go, she is eminently fitted for the part oi Gilda. What wondcfc, then, that (according to an enthusiastic scribe), when the new Gilda tripped’ on the stage, a positive thrill ran through the audience. The Gilda with whom most of them were, familar was a lady of mature charms, whose abduction would have been a physical impossibility and whose seclusion by her father partook of farce. What will happen next? A slim young Lohengrin, perhaps, or a mechanical swan does not look like “dat old goose,’’ or a Pilgrim chorus for I‘Tannhauser” that can sing in tunc. Perhaps—who knows? —a new

dramatist who writes plajs in original 'English and fills the theatre. Nothir * seems any longer quite hopeless. “ Blue Bird "* Music. Norman O Neill has composed some very delicate and charming incidental music for Maeterlinckfairy play. Four of the dances —“The Dance of the Mist Maids,*’ “The Dance of Fire and Water,* “ Hie Dance of the Hours” and “The Dane# 1 of the Stars”—have been arranged lor the piano, and are published by Elkin and Co. From the piano score some idea oi the originality and beauty of music can be obtained, but much of the delicacy and colouring is necessarily lost. In the orchestral score, strings and wood-

Wind predominated. I heard the dances in the grainaphone, played by the Court Symphony Orchestra, before I saw the piano score. and have since had the opportunity of hearing them many times, through the same medium. The full ■core can be obtained locally, and th* dance? would form a welcome item amongst the light music of the- Orchestral Society’s rejierLoire. Hilda Spong. The ‘’New York Herald’’ published * lengthy interview with Hilda Spong prior to her departure for Australia to star in “Everywomsn,” and the following extract includes some of the views Miss Spong delivered: “There is no more interesting country on earth than Australia. Americans should not for one moment fool themselves into believing that things in general and theatres in particular are not On just as high a plane in the Antipodes as in America. In fact, I consider that llhe typical Australian audience is one of the most critical and intelligent in the ■world. They have been trained to good things in the drama. Here, in America, ?'ou see a star takes up a part and plays t for a year or more. Over there they expect you to change your role frequently. It is an exacting test, and you must be able to stand it to meet with favour. But onco an Australian audience makes up its mind about an artist or a- play it takes a lot to make them change their views. They are stern but loyal, critical but kindly, and discriminating.

Nearly a Winner. Mr. Lewis Waller, whose magnificent acting in “The Garden of Allah” has conquered New York, says the most exciting moment be passed through was outside a theatre. “I once bought a horse,” he remarked, “and trained him Specially to win the Derby. My th nights were constantly dwelling on the race Until the day came round. The field started almost before I realised it. Round the track they went. At the turn I picked out my horse. Through tny glasses I saw hi:n jump into the lead. They came hammering down the stretch. Good heavens, could it be true I was going to win the Derby? The horse I had been watching passed under the wire leading easily. I let out a shout of joy, threw my hat and glasses away, when suddenly trailing behind the whole field I noticed my horse. I had been watching the wrong one. But let me assure you for two brief seconds I hud all the sensations of having won the Derby.” Mr. Waller with Miss Madge Titheradge as loading lady will be out in Australia shortly. “Beaueaire” was Ono of his greatest London successes, but opart from the question of looks his performance was not a whit, more attractive than that of our old friend Julius Knight.

Foor Frank Lincoln. Everybody is familiar with the song In which the audience is requested to join in the chorus, but a novel variation of this was provided by Erank Lincoln just prior to his sudden death, in “Sinbad the Sailor.” Mr. Lincoln had a song In which he specially requested the audience not to join in the chorus, for, ps he said, the manager had told him he did not want that sort of thing in the theatre, and, if the chorus was sung bv ♦he .audience, his song would be cut out pnd his salary cut down. However, much the comedian impressed this fact on the audience, the catchy Swing of the melody was too much for them, and while one part of the house was singing, another was shrieking with laughter at the comical efforts of the Comedian to restrain them. And now poor 1 rank Lincoln need not be afraid of stage managers auy more. The Irvings.

“Rlirti” reminiscing, writes:—“l remember the wedding of the Irving pair, at present touring New Zealand, and proving in Auckland, at least, that Shakespeare will draw packed houses. Jt took place at St, Pancras’, London, fn 1800. On the same day Princess Maud Of Wales, married Charles of Denmark, now Haakon, of Norway. London was ♦hronged with a holiday crowd, out to Bee the weddings, for a royal show of any Bort always draws a crowd, while the “wedding of lovely “Trilby" Baird, the Adored of London, excited even more popular enthusiasm. It was a boiling Jiot July day, nnd the crowd inside nnd Outside St. Pancras’ was so dense that it

was all the police could do to cope with it—traffic was suspended. A vision of loveliness Trilby looked in bridal array. Later another pack assembled at the home where the reception was held, and cheers whose heartiness had a something warmly personal resounded, till the loar of “Trilby. Trilby,” at last drew the bride to the balcony to acknowledge the good wishes so made evident. Impossible to make a word audible, so the lady prettily expressed herself by raising a glass of wine, and in dumb show, drinking the health of her crowd of admirers. The Irving children are a boy, Lawrence, and a girl, the latter bearing the old-fashioned name of Elizabeth. Mummer taste seems to run to the old-fashioned names. The Maudes’ family are Marirerv, Pamela, and John; Bred Terry’s Phyllida and Denis: Felicity figures in the Tree list; Bourchier’s daughter is Prudence; Evelvn Millard’s, Urania; Lilian Braithwaite’s, Joan; the Hare-Bancroft grand-daughter, Diana; Kva Moore Esmond’s son. Jack; while the new Titheradge babv (voting Dion’s son) bears. I lielieve. the name of Peter; while Ethel Barrymore's baby son goes one better with Samuel.”

A Liszt Story. The Liszt centenary may recall th? story, related by one of Iris biographers, of the musician’s indignation because Queen A ictoria, at a Berlin Court concert, caused windows to be opened and then shut again while ne was paying: “This produced a bustle and a going to and fro capable of ruining the effect of the finest performance in the world. When the ‘lntroduction’ was finished, the master, instead of playing the piece itself, got up, made a bow. and went out in the park to smoke a cigar. When, half-an-hour afterwards, ho came back to the hall, King Frederick William got up from his place and said to him: ’You ran away just now; what was the matter?’ ‘I was afraid,’ replied Liszt, ‘of disturbing Her Ma jesty Queen Victoria while she was giving her orders,’ ” And he could not be per suaded to resume his seat at the piano until Her Majesty had left the .hall. A rations Orchestra. The now celebrated London Symphony Orchestra was founded in 1904 by four bold brass players, while on a train journey from Westmoreland to London, and the first concert was given on June 9 of the same year, conducted by Dr. Mans Richter. The organisation is to visit the United States ..nd Canada next year. It is couposed entirely of professional musicians, and is formed on a co-operative basis, as a limited liability company, with a capital of £lOOO in £ 1 shares, of which each member must hold ton and no more. They give their services without fee, their only chance of remuneration l>eing a possible dividend at the end of each season. The original members each paid an entrance fee of £l, which, owing to the prosperity of the orchestra, has now been raised to £ 30. Thirteen concerts will be given during file London season next year, and the conductors are to be Sir Edward Elgar, Herr -A. Nikiscb, Herr Fritz Steinbach, and M. Gustav Doret. New Strauss Opera. Berlin is enraptured with the prospect this year of a new piece for the Deutsches Theatre, from the great modern composer, Riehard Strauss. It is to be something an opera and a ballet, the comp lefining it as a “divertissement.” and at is inspired by Moliere's “Bourgeois . Gentilhomme.” It is, in fact, an opera within an opera, and the crux of the story is the ballet which M. Jourdian, tho “Bourgeois Gentilhomnie,” offers to the Marquise. He has two troupes of artists, light opera and grand opera, and to please her decides that both must improvise on the subject of “The Problem of Truth." Tire graceful and melodious music of Strauss, very fresh in idea, though partly in the style of old opera, deals with Ariadne grieving because Theseus has deserted her. and rejecting the consolation of Zerbinette (light opera), who assures her she will heal her wound most easily by taking another lover. Ariadne replies by calling on Death to stop the beating of her broken heart. Just then young Bacchus, sorely hurt by the charms of dree, who has turned Jiim adrift, passes by, and Ariadne, mistaking him for Hermes about to conduct her to the Eternal Shades, transfers all her affection to him. But, instead of Death and Obhrion, he brings Iter fresh joy and new life. Ariadne relates this miracle to Zerbinette, who typifies Life;

but the latter sees nothing unusual in it. She remarks that always and ever each new lover makes her forget the preceding. All these characters, Herr Strauss explains, are symbolical, and express that, whether with gods or men, “all things resolve themselves to tho same end." Stray Notes.

Lehar’s new opera, “Eva." had an enthusiastic success at the premiere at Vienna given at the Theatre An der Wien. Numerous encores of the mosh brilliant musical numbers, and continued recalls of the four chief artists, with tumultuous acclamations for the composer at the close of each act. were ■’characteristics of an evening that was as amusing as it was rich in enjoyment.’’ Mr. George Edwardes, who has bought the English rights of Lehar’s work, wilt produce “Eva" in London at an early date.

An announcement of more than ordinary interest is that Mr. Alfred Butt, of the Palace Theatre, London, has arranged for the first production on the stage of a variety theatre of a play by Mr. George Bernard Shaw. “How He Lied to Her Husband,” with Margaret Halstan as She, Harcourt Williams as He, and Dawson Milward as Her Husband, will be produced. Mr. Shaw is personally directing rehearsals. “How He Lied to Her Husband" will be played for two weeks.

“A Tale of Old Japan" is the title of Mr. Coleridge-Taylor’s latest work. We are informed that there is no record of any choral composition in recent times creating such a stir as that excited by the appearance of Mr. Noyes’ poignant little poem in musical dress. Already the work’s popularity is assured. No fewer than twelve towns have already been promised a performance by the loci! society, and these plans have been made weeks ‘before its production. This is unprecedented, and goes far to prove that the composer of “Hiawatha" is remembered for his good work. The actual production took place recently at Queen's Hall, by the London Choral Society. Great care is being taken to start- the new work on its way worthily. The London Symphony Orchestra will assist. In Tschaikowsky’s ballet, “Le Lae des Cygnes”—a condensed form of which was seen in London some time ago—the composer has written a beautiful part for the solo violin as well as for the prime ballerine. Both the numbers that fall to the player’s lot are adagios, accompanying figures of great charm, intricacy and grace. At the performance of the ballet at C-ovent Garden these solos were played by Mischa Elman. Though lie was not seen. Mischa Elman was heard in a manner which left no doubt of the presence of a great artist in the orchestra.