Music and Drama.

New Zealand Graphic, Volume XLVIII, Issue 8, 21 August 1912, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates subject to alteration). lIIS MAJESTY’S, AUCKLAND August 26 to 31 Miss Margaret Cooper. August JUL t'» September 14 -Pan minim?. September 23 to October 12 Oscar Asch?, 1.-tly Brayton. October 14 to *l9 riiimuor-Dcniiislon («» October 29 to November 9 Auckland Amateurs, ‘ The Mikado.” TOWN HALL. AUCKLAND. Night Auckland ( onipetitions. Each Night ‘ The Damlies. ’’ .Sept. 4i Complimentary CVMccrt -to Misses Knight. » AUCKLAND HCITKK SHOWS. The Lyric Theatre, Symonds Street— Nightly. Royal Albert Hall, Albert Street Nightly. WELLINGTON OPERA HOUSE. •August. 15 to 29 I C. Willitruisou. Ltd., t Pantomime, ••■Sin bad the Sailor.” August 31 l<» September 12 ‘‘The Blue Bird” Co. September 23 to 0 tuber 2 dimmer Denniston Co. Ootobvr 19 to November 2 Oscar A-clue Lily Brayton Co Thrashed Into Love. IS there no' end to' the permutations and combinations of the sordid in modern operatic Italy? asks tthe “Daily Telegraph.” Really the seed sown by “(’avallcria Ru.-ticana” is producing 1 - a great harvest, and as lime passes (just twenty years have gone, since Mascagni's opera was fir.-t heard at ( ovent Garden), each decade seems to bring with it a fresh crop of the more or less brutal in Italian opera. It may be all very true.to life: but it is only, after all. one side'oY oi'.e kind of life, and i-s it not time that a trial be given to another and a pleasanter side on the •opera stage, lest the untravelled coine to regard the sonlid as essential to Italian art? Riccardo Zandoaai’s opera “Conchita.” which has been much talked of for a long dime. was very successfully produced at Covent Garden, hut it added yet one more to 'the catalogue of the brutal Jn opera. There-is no oilier con-clu-ioh to be arrKed’al than dhat the’ compels?r ‘ , believc? ' tha'l there is some £rmh.i.n the ancient, ka w that “a'woman, a spaniel, a walnut-tree, 'the more you beat 'em. the better they he”: at any rale, in .so far as the first i>s concerned. Put bluntly, the cjjinax of “Coinhita” is the realisation l»y the ’heroine” of the tho,roughness of tin* •'hero's” love' for her brought about by the somewhat forceful act of a sound drubbing. Zandouai has fashioned a remarkable vork. ;r.s a-lidacions us il is original. He has <host n for his cent ral figure a woman vlio combines the estimable qualities of a ( armen or a Salome with the tender virtue-' of an Apache. Like the first-named, Conchita is in th? tobacco bu*ine*< —in Seville, lob —and when we first see her she is sitting among a crowd of half-dressed, laughing, chattering, squabbling work-girls. .Most of the girls have discarded their blouses orn account of the stilling heat, and the varying hues of their stays make pretty splashes of colour. Atmosphere of Realism. The incident is carried out with a Sense of realism that would be more than daring were it not so itliorotiodily atmospheric, but it strikes the keynote of ih» drama and the music. Here »e are not 3n the picturesque ’Spain of Carnum, but the unadorned. toiling, yet ever sensuous, wurk-a-day world of Conchita. Mateo, wh<» is going over 'Uie factory with some visitors, sees Cojt-hita among the workers, anil revuguises in her the girl he had saved from th? Idudg • »n of •the policeman some months ago. She takes him home t<» her nmther. a lazy, mist rupuloHs v’ I dame, whose one coiiplaint is th it I»»t daughter is . > virtuous and they niu<l needs remain so jour. With all in*r faults, (’michitn is a wo man with an .ideal, an I that is to he loved deeply ami truly for her- df alone, mo when she finds behind, her back liar mother lias acv *|4t*d ? sheaf of bank Hole* from her wealthy layer. she forgets all alxnit tlieir niiibmil pledge on lips nil.l ro-*aiy a feu moments before, ami yows that the money mu-I l»o returned, iftht all i>' at an eml b'tween Matro mid her•“•lf. and that she ami her iiuitlier must leave Seville at oikc dnifore he rc«tuniH. Ignorant of the cause of t|iis d’sertion. Mate* inds Oenohlta after mik months* eearcK daacing to attract qut&ionable

people lo an even more questionable cafe, {<he will have nothing to do with him. By bribing it he waiter, however, Mateo is allqwed to watch unObserved a particularly risque dance which Conchita performs specially for itouriMs after the place lifts been Mint up. iMa’te-o bursts upon <the scone when the dance is at its height, ■threatening the shivering proprietor; with the loss of his licence. The dance, of course, has to be amido an ore .suggestive than realistic at Covent Garden, and in consequence is a. rather dame allair in proportion to its dramatic importance. A Cruel Jest. Conchita, at first angered by the violent interruption of her lover, is finally apparently impressed by the ardent demotion of Mateo. She gleefully •accepts his offer of a little villa, and playfully asks for dhe key, that she may got there first and have lt-he joy of Jetting him inAlatco cannojt believe this senses when on his arrival at the villa that night Conchita, instead of admitting him, merely gives him her hand, then her foot, to kiss through tthe iron bars, .then mocks him, and declares she will remain perfectly f roe. Tqrtured beyond endurance., Mateo threatens to blow his brains out, but she only laughs the more, and taunts him with his. age. Then, to add the last stab to this cTucl joke, islie calls for one, Morenito, bids Mateo see how young and handisome as his riyal, and how much ‘they love each other, flings herself in Morenito’s arms, and goes into the house locked in his fond embrace. Not content, with testing the fidelity of her kiver in such a drastic manner, this particularly feline specimen of womankind cornea to make fun of the broken man next day for no/t having killed himself after all. Though he takes it meekly at first, the Puppet— the story is adapted from Pierre. Pony's novel, “The Woman and the Puppet-”—suddenly becomes .a man. ' Beside himself with rage Alateo flings himself upon the wopum, throws her to the ground, belabours her with blow upon blow,’crying out the while that it is her turn now to suffer pain. He recovers himself, and *is ‘horrified at' .what lie has done, but his anguish i.> 'turned to joy-wlien, in a faint, exhausted voice, he hears his name, “Mateo.” purred by th • prostrate woman as softly as any amorous cat. ('onchita's eyes are full of adoration. There 'is not the least r<»proacli at hits treatment in her tone as she sweetly questions: “Oh, Maiteo, how you must Jove me . . Did you then care so deeply for me ■That you could treat me like this?” The Music. Apart, however, from all this, the ■opera lias it«s very strong points, and probably not all opera-goers take tliejr “storre.s” very seriously. Immediately the auuste-lover is struck by th? remarkable skill shown by the composer in his score; the wcore, in fact, is, without doubt, the most perfect of its kind that has jis yet come to us from modern Italy. Where all of his compatriot’s pile ‘•Pe.lidn on the top of Ossa” in the matter of colour in the ■orchestra: where, 'indeed, , t hey ipaint their atmosphere, as it .were, with a whitewasher’s .brush, Zandouai is content t'O work with the finest, almost miniature, material. In consequence his score is an aquarelle of daintiness. In those modern days such reticence as Zahdonai shows is not orly masterly, it is unique. If only the psychology of the Opera were a little clearer on? might reasonably declare this a masterpiece. Musically it is one; dramatically there is a doubt, for reason-' specified.

Miss Margaret Cooper. An idol of the 'British amusciiieiit

loving public, Margaret Cooper, who commences a seuoon of six nights and one matinee on Saturday next at His Majeßty’a Theatre. Auckland, is irresistible when, 'with a rippling accompaniment on the pjaiio, she sings fascin ating littl<* songs with a grace and ‘•diablerie” peculiarly her owit. As she flashes from grave to gay with ra’re effivts, the listener falls victim to her subtle drnrin; fancies tln»4. the mocking 4»mile, the lender glance, the naughty little twinkle in her eye, ia specially

’directed at himself. The reigning queen of the Palace Theatre, (Miss C-ooper has a .perfect under standing of tthe length and breadth of human enu»tions, born in part of her keen intuitive faculties, partly of experience of the world, gained during the hard fight she put up to win h?r present laurels; a struggle to beat down the inborn prejudice of English amusement managers, who have a rooted aversion to all that which is out of the beaten track. Miss Cooper has sung to command to our British Royalties, the King and Queen of Spain, and Dowager Empress of Russia. One day at a concert in a private house, King George, then Prince of Wales, like Oliver Twist begged for more, and leaned on the piano as he enjoyed his second’ helping. For two hours Margaret Cooper sang and played for him. Miss Cooper is supported on her present tour by a complete company of artists who supply a most varied programme. During her brief but highly successful season in Wellington Miss Margaret Cooper, the brilliant English entertainer became a great favourite socially, and night after night the same faces could be seen in the stalls and dro-s circle, crinkled into laughter by the sprightly comedy of this charming artiste. His Excellency the Governor, Lord Islington, was immensely pleased with the gay art of Miss Cooper, and -twice during hetstay in the Empire City she was lunched by their Excellencies at Government House. Bartley-Borradale Recital. Miss Zoe Bartley and Mr H. C. Borradale gave a most enjoyable recital and concert in the Town Hall on Saturday night. Both Miss Bartley and Mr Borradale are performers of uncommon merit, and have gained an exceptional number of awards at musical and elocutionary competitions in Auckland and various southern cities. They received assistance from several wellknown Auckland performers, and from Miss Aileen Moore, ah able painist, who has recently come from Dunedin to reside in Auckland, and Mr J. Culford Bell, of Wellington. Costume recital’s were given H»y Miss Bartley as Ophelia in the mad scene from “Hamlet” and “Hie Dog Ospital.” In the former, the artiste repeated th? success i-die achieved as Ophelia at the last cum petitions, and in the latter she ably drifted into comedy. Miss Bartley also sang the •bracketed songs “Cradle Song,”.. ‘•Child’s Prayer,” and ”The Sleepikins,'’..while sh? joined in the quartet ‘Fairyland” with ’Aliss M. Knight and Messers. and McElwain. Miss Bartley and Mr Borradale successfully gave th* courtship scene from “The Hunchliack.” The latter was warmly applauded for his •renderings of “Clarence’s Dream,” from ‘‘Richard 111., and R. L. Stevenson’s ‘‘Christmas at Sea.” He was encored for his rollicking song “We Sway Along th<* Ridges,” and in response gave Florence Alyward’s “Three.” Miss Moore played with excellent taste Liszt’s “Hungarian Rhapsody” in E flat, and Chopin’s “Berceuse v (as an encore). Mish Knight sang “Too Late” and “My Treasure” (a recall item). Air Bell gave a recital from “Julius C«aesar,” and responded to an encore with a humorous sermunette. Both items were well received. Mr J. F. Montague recited “Tin* Novel Writer” and “The Stage Fright,” while-the entertainment concluded with a one-act comedy, “My lawyer’s Fee.” I'he performance were Miss Bartley, Mr Borradale and Mr C. Smith, and their artistic work was in further keeping ‘with the high standard that characterised the concert as a wholeTown Hall Organ Recitals. The last of the present series of organ recitat' connected with the appointment of city organist was given in the Town Hall ilast. Saturday night, Mr. 11. S. ('laughton being the performer. Best’s “Choral Prelude” opened 'the proceedings, and a broad reading was given of the work, while tho |a*dal part was effectively displayed. F. E. Bach’s “lntrodu<tion and Allegro” was given in a manner which exhibited 4he full power «»f the .instrument and the execut a ill’s coininand of it. Th? performance obtained of Ke iid a Li's “A Dream of

Spring” revealed taMe in the selection of the combinations and suitable phrasing. Mendelssohn's third organ sonata in A major, consisting of two movements —the first of which rojita-iiH an introduction and fugue with two subjects, heard at fir»t separately and afterwards in combination, ending wi‘h a reference to the introductory movement: and the second a setting of iinbeauty— received a creditable perfoTinance. The prelude was

played with deliberation, and the fugual parts were generally clearly expressed, while ithe chorale on the pedals stood out prominently, but the delay made prior to the execution of the subject in semiquavers was unnecessary, as was also the sudden change of registering just after the beginning of the final section of the double fugue. With the exception of a too free use of the reeds, the. return of the principal theme was suitably represented. The “Andante Tranquillo” was tasteful'y performed, and the inner parks were suitably displayed. Gus-tav Merkel, who was one of .the peers among the composers of organ music in Germany, was represented by his ‘ Adagio” from an organ concerto. In this muskianly composition the player exhibited judgment in the choice of liis combinations, and the solo stops were used to good effect.. The recital closed with the playing of the National Anthem.

Auckland Competitions The Auckland Competitions Society’s Third Annua! Festival commenced . x».u Monday. August 19th. and continues for 12 days until Saturday, 31st. All the contests will take place in the Town Hall, either in the Great Hal! or the Concert ( hamber, arrangement having been specially made t<» fit tin* stages for the purposes of the compeliliotis. The official opening, performed by His Worship the Mayor (Mr. C. J. Farr), took place in the large.hall on Monday afternoon. In the course of his remarks, Mr. Parr said it was matter for congratulation tluit these competitions were going to be held in the Auckland Town Hall at last- (Applause.) For some years past th? promoters Ir.id been under a serious handicap in the matter of a spacious building in which to hold .the competitions, but ’that handicap had. now been removed by the city being able to supply the public and the competitor# with.the finest hall in New Zealand. (Applause.) “My ambition,” the Mayor pret* (•ceded, “is to make Auckland the great musical centre of the Dominion.” (Renewed applause.) In a few weeks, he. said, the City Council would approach the most responsible task of electing a city organist. If a really first-class man could be got it would do more than most jieople thought, he believed, to encourage, first-class music in our midst. (Ap-_ plau.-e.) The Mayor expressed the opinion that these competitions desjrvcd tho. support of the authorities because .they, certainly did encourage the study , of good music and th? study of good, .liter?-, ture. He congratulated the committee and the secretary (Mr Scott Colville) upon the successful arrangements made fur thi>. the biggest event of its kind from the entry point of view yet held in the Dominion. (Applause.) To his mind, the .Mayor the greatest point to be kept in mind was the necessity for securing men of recognise.l eminence i'» act- as judges in order that the competitors and the public might be completely (Satisfied. He understood that on this occasion the promoters had secured such highly qualified gentlemen as would do . much to make these great competitions the success they deservefl to be. (Ap; plause.) Pr omises of Success. The chairman of the executive committee (Mr. C. Hudson) said it- was his pleasing duty to thank his Worship the Mayor for attending to open the important function, and he wished to remind those present that Air. Parr was also President of the- Society. The speaker apologised for tho absence of the vicechairman (Dr. McDowell), who had been unavoidably prevented from attending. This was the third festival promoted Oy the Society, and it was indeed gratifying to realise that the entries totalled over 1,700. (Applause.) Although one or twl» classes were not filled to quite the same extent as last year, the average had been very well maintained, and he felt sure that many interesting contests would be provided. In view of this encouraging outlook it was not necessary to attempt to justify (he competitions or to explain at length their scope. The public had shown their appreciation of them by theri attendance, and a .significant fact was that although many members of the ((aching profession wore nt first hostile they were now cordial supporters of the movement. ( Applause.| 'The (hairimin said that, according to their usual custom the executive had gone to Austmlin to Recur the very best (Hitsidv judges availa-bk*. Ln Mr. Arundel Orchard, of Sydney, and Mr. W. L. Peine, of Melbourne, they had obtained men at th? top of their prutes-

slons, who could be depended upon to give every satisfaction to competitors and to the public. (Applause.) Royal Albert Hall. Th'e week's'pictures at the Royal Albert Hall have been well up to the high standard which the public has come to expect at this popular place of amusement. The management continues to have n» truly wonderful selection at each of the frequent changes of programme, the varied tastes of the audience are fully studied. A big attraction this week is a tine film entitled: " In Deadly Peril — ’Twixt War and the Girl.” This is an exceptionally thrilling and effectively staged drama, based on the Franco-Prus-sian war. It is well worth seeing. Complimentary Concert. A grand complimentary concert is to be tendered to the Misses Lizzie ami Madeline Knight in the Town Hall, Auckland, on September 6th. Both these ladies are exceptionally well-known in local musical circles, and (he concert will be given prior to their departure from Auckland to pursue their studies in the south. All the best local talent will figure in the programme, particulars of which will be published later.

Choral Society's Concert. There, was a large audience at the Town Hall last week, the occasion being the Choral Society’s third concert of the 1911-12 season. The work presented ■was the oratorio "Abraham,” written by the famous violinist and composer Bernhard Molique, whose principal publications consist of violin eoneertos, duos, quartets for stringed instruments, a symphony; two masses, and the work under notice. The composer was born October 7, 1803, at Nuremberg, and won a great name for himself by his virtuosity as a violinist during bis concert tours through Germany. He was a pupil of Spohr, and led the Royal Band at Stuttgardt for several years. In 1849 he went to England, and the same year appeared at the Philharmonic concert in his A minor concerto, and in 1860 his oratorio “Abraham ” was performed at the Norwich Festival. Though this fine composition reveals the work of a master hand, sound musicianship, clear outline, and effective instrumentation, it loses interest by being unduly prolonged and overburdened with old style of writing; and many intricate parts. There are no less than 34 recitatives, which become wearisome before the 'Work terminates. The 14 concerted pieces are admirably written, and some are reminiscent of Spohr and Mendelssohn, while many of the solos are interesting and pleasing to interpret. Though the composition is written in a serious style and held in high esteem by musicians and critics, it is questionable whether the society acted wisely in including it in its programme for the season. To the public the work did not prove very interesting, which can be accounted for by reason of the technical character of the composition and the old style of form. So far as the choral writing is concerned, hardly anything could be better to test the skill of the choir and to make the singers proficient in taking leads, sing accurately, independently, and sustain long intervals. A praiseworthy interpretation was secured of the oratorio, the choruses as a rule were admirably delivered, and the solos were in capable hands. To Miss Gertrude Hunt the soprano music was allotted, and but for a little nervousness occasionally at the commencement of her solos, she acquitted herself with distinction. She sang very nicely in the recitatives, while in the solos the singer sang freely and with pleasing vocal quality, and displayed a nice legato, good feeling for rhythm, and suitable phrasing. Miss Cara Dernhard was entrusted with the contralto numbers, and in them displayed her pleasing contralto ’voice to good advantage. She gave a clearly expressed performance of “And the Lord,” sang in flexible style the effectively-written aria, “They Kept Not the Law,” gave with emphasis “Fear Not," for God Hath Heard Thy Voice,” and notwithstanding the orchestral indifferent performance o' some of the liars of her recitative, “Thus Said the Lord,” the singer sang most acceptably. Most of the work for the tenor, Mr. John Fuller, consisted of 14 recitatives, w'hiolr he declaimed in a praiseworthy manner. The baritone, Mr. IL B. Coney, gave studied and acceptable deliveries of his ton recitatives; he sang with taste the aria “Load Me, O Lord,” but was a little strained in the. high of “Praise tlie Tior-d’’; he gave with suitable expression the-flowifig solo, There Be No Strife,” and threw much spirit and

animation into his delivery of “Arise, Arise”; The concerted number, “Go Tn Peace,” received an adequate performance by selected singers from the chorus, and the trio, “Let All Those Rejoice,” was effectively rendered by Mrr. Sutherland, Messrs. Walter and Astley.

-There was a fine representation of the choir, and the singers gave every evidence that a good amount of work had been devoted to the preparation of the choruses. With few exceptions the leads were firmly given, the release of notes good, while enunciation, phrasing, intonation ami time received carefulattention. . A capital rendering was secured of “Lord, Bless Thy People.” Very Mendelssolinian in style is the .ehorus “O How Great,” which received a very satisfactory performance. The sustained intervals were admirably prolonged by the sopranos and basses, ami the middle voices moved with delightful freedom. This was one of the nicest sung numbers of the evening. Tn the male ehorus, “Arise, Let Us Go By Night,” the singers got beyond their depth, and gave anything but a satisfactory reading of this intricate setting. Generally the orchestra acquitted itself creditably, which was led by Miss Whitelaw. Dr. W- E. Thomas conducted ably, ami the sulwcribers’ wants were looked after by Mr. Scott Colville, the secretary. At the next concert Mascagni's “Cavailleria Rusticana” ami (lade’s “Erl King's Daughter” will be the works performed.

“ The Dandies." "The Dandies,” after a. few nights at His Majesty's, returned to the concert chamber of the Town Hall on Monday night, where they will appear until further notice. Their return to their old haunts was signalised by a complete change of programme, and it proved to be one of the best entertainments this clever company has yet produced during their long and successful season in Auckland. Tile fun was.irresistible, and the audience was plainly delighted. The more serious solos, duet, and concerted numbers were excellent of their kind, and the singers were repeatedly recalled'.

“The’ Dandies” will continue to amuse large audiences at the Town Hall, each night throughout the week.

Lyric Theatre. The current programme at the Lyric is another evidence of the up-to-date service which the management of this theatre have secured. Each week sees a large and varied programme of the films, which are projected clearly ami steadily on the screen by the very latest ami most modern moving-picture machinery. The accommodation in the Lyric is 'Comfortable, the pictures are beyond question, and the music furnished by the Symphony Orchestra completes the list of attractions which draw big audiences each night in the week.

Pianola and Orchestra. Last month an unusual concert was given at Queen’s Hall, London. The London Symphony Orchestra played and Herr Nikiseh conducted the Fifth Symphony of Tchaikovsky. So far it was not unusual; but in addition Griegs Piano Concerto was played, and the soloist was —a pianola. It was a fullscale themodist pianola attached to a Weber grand piano, and at the pianola sat Mr Easthope Martin, who was several times recalled at the close.

Strictly speaking, poetic justice would have required that the machine should have been brought to the front to shake hands with the conductor. It. is certainly wonderful, and possibly to hear a concerto played like this is better than to hear it played by an inferior pianist. It can reproduce the most subtle variations of force and the most delicate modifications of pace, says a London critic. What it can not do is to give the human element of variety of tone, colour, or emphasise an inner part. It is strange how temperamental the most unemotional playing by ten male or female lingers is in comparison. To listen to it teaches ns how great is the part played by tone colour. It was wonderful, but it was not the highest form of musical art. “ Sinbad the Sailor.”

The following tour has been fixed by J. (.'. Williamson, Ltd., for the pantomime “Sinbad tlie Sailor": Auckland, August 31st to September 14th; Gisborne, September 16th and 17th; Napier, September 19th and 20th; Dannevirke, September 21st: Masterton, September 23rd; Wanganui, Septenrber 24th and 25th; New Plymouth, September 26th and 27th; Stratford, September 28th; Eltham,

September 30th; Palmerston North, September 31, October Ist and 2nd; Christchurch, October sth to 19th; Timaru, October 21st; Dunedin, October 22nd to 31st; Invercargill, November Ist and 2nd.

Stray Notes. Mdehael Morton, the Canadian, who resides in London permanently, and gives the world a very good play each little while, is about to have his latest work, “Behind the 'Curtain,” produced. It is written in four acts, having scenes both in and out of England. For the Oscar Asehe productions in Australia, the stalls ami circle prices were raised from 6/ to 7/6, and the latter price will probably be the tariff tor the Dominion.