Music and Drama.

New Zealand Graphic, Volume XLVII, Issue 5, 31 January 1912, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates sublect to alteration.! HIS MAJESTY’S THEATRE. Bi Season—“ The Speckled Band." April G to 20—“ Every woman” Company. June 24 to July o—Pantoiplme. July 22 to August 3—“ The Blue Bird.” September 30 to October 12—Oscar AscheLlly Brayton. WELLINGTON OPERA HOUSE. In Season—ll. B. Irving Co. February 17 to March I—Allen Moore Comedy Co. March 19 to March 26-Allan Hamilton Dramatic Co. March 2to March B—Mr Joseph Biascheck, Society Entertainer. April 27 to May 18—Marlow Dramatic Co. May 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 AscheLily Brayton Co. November s—“ Ben Hur" Co. The toioad View. IT is a deplorable fact that the average musician is far too narrow in his ideas, and lives in a world of his own, says a Home paper in a sensible plea for the broad view in matters musical. There is a large Debussy and Strauss following who look upon Mendelssohn as a musical prattling 'babe,. In earlier times there were hosts of Wagnerphobes. Before Ella and others brought him to our notice, Schumann and all his works were either unknown or totally Unappreciated in England. It was left to old Wesley to germinate the seeds of admiration for Bach, long after the old Cantor had passed, away. The war between the pro-Liszts and the anti-Liszts still rages. Schubert did not live to enjoy the gruits of popularity. Sullivan, because his latter years were devoted to lighter form, is considered by many beneath notice. Mozart’s scoring is, in these times, looked upon as thin; Handel’s oratorios as hopelessly- old-fashion-ed. The only master who appears to silence the adverse critics is the mighty Beethoven. All these things are due to violent partisanship, which, if a credit to enthusiasm, is a 'menace to the broad view. While acknowledging that prejudice and hatred are preferable to indifference, it would be well if violent critics asked themselves one question before indulging in whole-hearted abuse: “Is fio-and-So’s work good music?” If it be good music, there must be merit in it. whether it appeals to them or no. If their answer is in the negative, then they will be at considerable pains to define bad music. When one comes to think of it, this is no easy task. It is hard to see how any music can be bad unless it breaks in the most flagrant way various laws of harmony. Music can be dull, monotonous, or light, without being bad. It can be good whether simple or complex, whether beautiful or ugly (in the latter of the cases it is usually called “fine” or “impressive”). One regards a piece of manufacture as bad when it is defective, and it can only be defective when either the 'material is poor or the construction is opposed To the rules governing the construction. But the material for music-making is always the game—twelve semi-tones re duplicated at will. , The construction is the laws of harmony and its attendant science. Thus the breaking of such laws must be the cause of bad music. It is, therefore, passing strange that the much-vaunted modern school is just that school which deliberately breaks the accepted rules. We know, however, that laws are made to be broken, and that-our modernists break them with their eyes open. So Hurt it yvould seem that the only really bad music—music with absolutely nothing to recommend it—is that wherein the accepted laws are broken through ignorance of their existence; and the work is one of ill-constructed crudity. This is a somewhat unfair corollary, for to sin in ignorance is not so bad as to Fin against the light. Still we munt accept it, and until the supporters of this or that school of musical thought can give any better definition of what bad music is, they should view thy works of composers who do not find favour in ♦heir eyes with toleration.

Typically English. I like the Alhambra; it is a gay bobbing bubble of a place, says an appreciative Londoner. It has kept the frilled' banner of the ballet flying through good and evil repute. In spite of its name, there is no London dancing-hall, save the Empire, more distinctly English in character, and ijt has the' best bob amphitheatre in town. It knows where it stands and what it stands for. It realises, that it faces on the one side the self-contained flats and the second-hand bookshops of Charing ‘Cross-road, and on the other the lights and laughter of Leicester .Square; and it has kept, as I have hinted, the frilled skirt of the oldfashioned ballet flying through all the intoxicating whirl of the Russian invasion. For though Geltzer came and conquered and a Russian gentleman drilled the corps de ballet, it was remarkable how entirely English the Alhambra Russian ballet remained. *l’he principal dancers at the Alhambra have not always been first-cla’Ss—Britta was just competent, another wasn’t, but its corps de ballet is always superb. It is always so young, so spirited, so full of that plain English jollity we find so much easier to understand than the fiery abandon of the East. National Anthems. I wonder nobody’ takes the trouble to compile an official record of the National Anthems of the world, writes J. M. Glover, in London “Opinion.” The American Government some years ago commissioned Mr iSousa to tour the hemispheres and publish such a directory, but even this is hopelessly out of date, and in most cases inaccurate. The amount of learning and labour which is expended on esotoric collections of once-publish-ed and—and-never-hcard-of-again—musi-cal literature alarms one by its magnitude, and yet I am willing to wager that not six musicians in England could offhand tell us what is—or was—the correct National hymn for Canada. India, or South Africa, apart from the Empirical strains of our own “God Save the King.” This-paragraph grows out of the complaint of a reader that both “Yankee Doodle" and “The Watch on the Rhine” are invariably plaved in music-halls in England as the “National Hymns” of Amer : en "nd Germanv. They are, of course. National melodies, but not the accepted “official" anthems. It was Sir W. Gilbert, I think, who gave us the song about “That Horrible National Anthem,” and from another lyrical source I quote of a monarch who went about crying in the wilderness: — Give, me a song with a flag in it Written by Kipling or “Dag-in-it”; Plenty of national brag in it, O’-—wive me something to sing. Give me a song of the motherhood, Give me a song of the brotherhood, By Gilbert, by Tom. or the other Hood, Oh give me something to sing. The sentiment is a little rough, and, oh! the rhyme in the second line—“Dagonet,” forgive me—but the song which has just occurred to me had a certain vogue some years ago. Tuneful or Tuneless Pussies. The “New York Times” has printed a communication from a correspondent, who avers that near him lives an old Italian violin maker. This person having noticed that cats—like human beings differ in the quality of the vocal sounds they emit, has divided the tribe into two portions, which, according to .the tunefulness or the reverse displayed, he has dubbed “Italians” end “Germans” respectively. By some means, not revealed, he manages to entice the pussies to his room, and makes them sing, probably by measures more forcible than sympathetic. Those with bad voices he has no use for, but should poor grimalkin prove to have a good one her fate is sealed. She is asphyxiated, mid her last end is -fiddle-strings! This ingenious old gentleman says that the best quality strings are obtained from pussies with the best voices,- so henceforward people who are troubled of nights with the nocturnal serenaders, had better secure the offenders and ship tljcni off to New York. Hitherto the best Italian strings have been made from the intestines of lambs, though in France arid Germany those of sheep and calves are used. If musical

cats are to be utilised in this way, one may look forward to the regular breeding of the feline race for the Italian market, but we incline to fancy that some rude, irreverent fellow has been indulging in the pastime of what is vulgarly called “pulling the leg” of the editor of the “New York Times,” a thing which is particularly to be reprobated when done to an editor. Notwithstanding its name, catgut is not derived from cats, musical or otherwise. The Covent Garden Season. The London operatic public is the most fickle in the world. At one moment it seems to like novelty.- at another the old, hackneyed works seem to be preferred. Even the cleverest of managers can scarcely know how to deal with such a state of affairs. On the whole, the recent season at Covent Garden was quite successful. The Wagner performances had large audiences, and the Russian ballet'upon whose services the management have an option for next year—always drew well. But we might have had a little more opera and a little less ballet, for the latter has actually outrivalled the former as regards the number of performances, says the “Evening News.” As another contemporary points out, the whole of the original programme was not carried out, and neither “Lohengrin,” the “Flying Dutchman,” nor the new ballets seen. The fact is accoiinted for by the extra cycle given of the “Ring.” This work certainly proved very popular; and the third representation fully met the wishes of the patrons of the Royal Opera. A Future for English Opera. Mr. Oscar Kammerstein, in responding to the toast of “Our Guest” at the London Press Club House dinner recently, made a striking speech on the future of the British opera. He expressed his appreciation of the reception accorded to his venture in Kingsway. It had been said he was bound to fail because the English public cared nothing about opera. The house had only been opened a month, and that prediction had already' been proved to be untrue. The support of the public had been enthusiastic in the extreme, and the attendances had

been large and constantly increasing. (Applause.) Presently ha hoped to be able to do something in the way of fostering native talent. It was the modesty of the English race which caused them to under-rate their musicians, for he was convinced by the scores which lie had looked through that English corn) >oseis were fit t-o be compared with the greatest of living musicians. They only needed encouragement. His venture was still in its infancy and had to feel its way, but in the future, if they permitted him to remain in London — (applause)—he hoped to give the works of their native composers a prominent place in his repertoire. (Applause.) Mr. Kammerstein also paid a splendid tribute to the work of his chorus, which, he said, was composed wholly of English singers. He had engaged French and Italian choruses, but after he had heard only half a dozen bars from English chorus singers, he cancelled the old contracts, and engaged all English singers. The talent would grow and expand, and -would be the envy of every country. A Mystery Play. The production in London of Professor Reinhardt’s mystery play, “The Miracle,” which was mentioned in a cablegram the other day, the occasion of a visit of a large number of clergymen being taken advantage of for a demonstration on the part of the Anti-ritualists, was a remarkable achievement. “The Miracle” is a wordless mystery drama written by Dr. Karl Vollmoeller, a young German author, who had previously adapted a number of Greek plays for Professor Reinhardt. The period chosen for the story was the end of the twelfth century, and the dresses were of similar design to those used in “Faust.” The leading woman character in the play is a nun, and the principal men are a knight and his troubadour. The “crowd” forms an important factor in the evolution of the drama, no fewer than 2000 persons being required to portray its movements. The music, written by Humperdinck, is a special feature of the play. The preparations for the production were considered the most elaborate ever undertaken in London. A large portion of the great Olympia building was transformed into

an early Gothic cathedral, which was built in the most realistic fashion. Seats for 10,000 spectators were placed on each side of the cathedral, which was really in the middle of a great amphitheatre. At the west end of the cathedral there were massive iron gates, which opened upon a picturesque view of the Rhine Valley. Some of the episodes pf the play are described as eerie and fantastic. One of the scenes shows a band of huntsmen, with their horses and dogs, traversing a lofty mountain. Professor Reinhardt realised that the mountain must be placed “in the middle of the picture/’ and he built up a huge mountain capable of supporting hundreds of people, and larger in circumference than any stage in London. The mountain was equipped with motor power so that it could be moved easily from one end of the building to the other. The magnitude of the production is emphasised by the details of the arrangements “behind the scenes.” The performance was controlled by means of almost countless electric bells and telephones. Professor Reinhardt himself used a motor-car in order to move quickly enough from end to end of the great building, and the “call-boys” were mounted on bicycles. A Tiny Prima Donna. The London press is unanimously of opinion that in 'Miss Lyne, who was “discovered” by Mr. Hammerstein of the London Opera House, we have the making of a "star” soprano of the magnitude of a Melba or of a Tetrazzini, says a writer in the “Musical Standard.” We advisedly say “the making of,” for some reporters, showing no restraint whatever and only wishing to appear “brilliant,” actually suggest that Miss Lyne is already a Melba or a Tetrazzini, although, practically, a mere girl in operatie experience and vocal development. We are pleased to know that Mr. Hammerstein has made a real vocal discovery, and we can only hope he has made and will make some more. There is nothing like encouraging real talent. The fees of the old “stars” are becoming impossible! Unfortunately, there is no Hammerstein to encourage the unknown composer. Oscar Hammerstein risks nothing in that respect! But he is performing opera adequately for the great London public, and it appears that that great public is giving him very satisfactory support. That is as it should be. If a more ambitious kind of opera season is to pay its way the public must support it, It is no good blaming the .ambitious work of impresarios—and stopping away. The whole matter—for improvement or decay—is really, let it be understood —in. the hands of the British public; unless—and this, reader, is an important point—it may be true that the desires of the public are developed according to the fare provided. One’s impression on seeing. Miss Lyne is surprise that such wonderful singing can come from so young, so fragile a girl, for she is only twenty years of age, stands but five feet high, and weighs scarcely more than seven stone. A few moments of conversation and the secret of her success becomes at once apparent. American vivaciousness of manner, a quick, clever conversationalist, bright brown eyes lighting up a small face tinged a soft velvet brown colour thoroughly in harmony with her opulent brown hair, a merry, flexible voice, a will of her own, and an artistic temperament • —that is the picture she conveys to one's mind. “I was born in Kansas City, Missouri, and for- three years studied singing in Paris under Mr. L. d'Aubigne,” she says. “I returned to New York, and after singing for a time on the concert platform joined Mr. Hammerstein there and sang for him in opera comique. The piece was ‘Hans the Flute Player/ and I took the part of Lisbeth. Mr. Hammerstein then offered me the part in ‘Rigoletto’ in London, nnd I sang it there for the first time. It was also my first appearance in grand opera. It was just lovely,” was Miss Lyne’s description of her success. Miss Lyne speaks fluently Italian, French and German, ami is one of the very few operatic singers who find it easy to sing in English. She is an accomplished pianist. The compass of her voice is three octaves, and she easily sings F in alt. “ The Speckled Band.” The wriggling snake in “The Speckled Band,” the new Sherlock Holmes play, has been fascinating quite a lot of Jveopls during the week at His Majesty's, Auckland. With William Desmond, Gaston Mervale, and Miss Dorothy Dix (making her first appearance) in the caste anything would be sure to go, so

the business has been good. While njothing like the play’ that Cuyler Hastings introduced to us some years ago, /‘.The Speckled Band” is. full of interest,: and Sherlock, Watson, and Billy, not to mention the pipes in the coalscuttle, the tobacco in the slipper, and that confounded cocaine bottle still have a fascination for audiences. The play is clumsily put together and Sherlock Holmes does not appear till quite late in the action, but good as Conan Doyle is to read, he is an almost impossible person to dramatise. Gaston Mervale was distinctly good as the mad step-father, who uses a snake to get rid of people who annoy him, and won't give him money, and he would have been better if lie had dropped that most irritating habit of snapping his fingers every few minutes. Mr Desmond, as Sherlock Holmes, suffered by comparison with the imperturbable Cuyler Hastings, but he quite gripped the audience. An American accent for an English role is somewhat of a handicap, but Mr. Desmond is an excellent actor, and always gives a finished study of his parts. Miss Dix looked the part quite successfully, but at times when not stimulating a stress of feeling she was inclined to "slack off,” which rather spoiled the ilusion of the piece occasionally’. Billy was an interesting little figure. “Alias Jimmy Valentine,” which replaces “The "Speckled Band’’ to-morrow night (February Ist) was in the South liked better than the Conan Doyle play, and is said to be a merry piece, in which the Williamson Company is very much at home. A Contralto Season. Allie. Eva Gauthier, a Franco-Canadian mezzo, is arranging for a brief starring .tour of Australia this winter, which is likely to be remembered as a contralto season (say’s “Sydney Herald”), not a single soprano having yet been announced. The new artist has been making great successes in the Straits Settlements, India, China, and the East, and is now in Java, where she was giving concerts in November, 1910, and then returned for a further season in 1911. Mlle. Gauthier, who was trained in Paris by M. Bouhy, through the assistance of Lord Strathcona, supported Mme. Albani throughout Great Britain, the United States, and Canada, as a contralto, but • made her operatic debut in Italy at the Theatre Guidi., Pavia, as a lyric soprano in the role of Micaela. At The Hague and Rotterdam the press notices alludu to her as.“a warm, full mezzo, of beautiful quality ~ and very extended range.” ■Mlle. Gauthier, who has been decorated by the Queen of Denmark', is very pretty and petite. It is probable that she will reach Australia in April or May. After those months three more famous contraltos are due here—Mmes. De Cisneros, Kirkby Lunn, and Eva Mylott. Miss Ethel Irving. Playgoers have every reason to be gratified at the way this year has begun with theatrical attractions of a high order. Starting with such a celebrity as Mr. H. B. Irving, we now have Mr. Williamson’s exceedingly well balanced dramatic company’, ami following this, we have the welcome announcement that the great English actress, Miss Ethel Irving, with her complete London comedy company’, will play a short season at His Majesty’s, Auckland, commencing on Thursday, February Bth. Miss Irving, who, by the way, is no relation of "H.B.’, is looked upon as undeniably one of the finest artists in her line on the English stage. Her forte is high-class comedy, and she will have a splendid vehicle for the display of her abilities In Mr. Somerset Maughan’s comedy, “ Lady Frederick,” with which the season opens. This play has proved an enormous success throughout the Australian tour/ the crowded audiences expressing delight with what is described as one of the best modern comedies extant, whilst lavish praise was bestowed upon the portrayal of the name part by Miss Irving. Its success in London, where it was first presented by this lady, was most pronounced, a programme we have before us referring to “ the four hundred and fifteenth, and anniversary’ performance.” Unfortunately, through stress of time, the season is limited to seven nights, but with the two pieces to be presented: “Lady Frederick ” and “The Witness for the Defence,” the public may confidently look forward to a quite exceptional treat. The plans for the first nights will bo opened at Wildman ami Arey’s on Monday morning next.

“ Alias Jimmy Valentine.” "The Evening Post,” - Wellington, tn its review of “Alias Jimmy Valentine,” Paul Armstrong’s most successful comedy drama, which is to be produced by Mr. J. C. Williamson for the last five nights of the present season at His Majesty’s, Auckland, commencing on Friday next, February 2nd, says: “If the ways of theatrical management are not past finding out surely 'Alias Jimmy Valentine’ produced On the eve of the end of their Wellington season should have been chosen as the very piece with which to open it. No sooner had the first dozen lines been uttered than a spirit of glad surprise seemed to pervade the audience. Here, it almost said aloud is something out of the common, something refreshingly’ original (and yet not adapted from the French), something pregnant with probability’, and the might have been something (at last!) free from that infusion of the stale old tea leaves of conventional drama sugared with sentiment and tinted with the milk of human kindness. This is a fresh hot fragrant brew made in a hot pot. Here there is life and truth and feeling; here is a human play’. The actors seemed to feel the spirit of the play, too, and the result? One of the most artistic productions from a purely histrionic point of view that Mr. J. C. Williamson’s management has given. When a play grips as this one did, when a play’ holds up the mirror to human nature and gives a true reflection as this one did, and when all taking part—large part or small—felt that part and made ‘those who looked on feel it too, then it is fair to describe one such play as a forceful comedy drama. "Alias Jimmy Valentine,” as a story owes its origin to O. Henry—'the' writer upon whom the mantle of de Maupassant rested but for so short a while. As a play it is a masterpiece. Mr. William Desmond, Alias Dorothy Dix, and Air. Gaston Mervale, supported by the full strength of this exceptionally strong company, will participate in the presentation, and 'two clever children maintain the child interest which is introduced into Act 111. ’lhe box plan is now’ open .for the full season at Wildman and Arey’s.