Music and Drama.

New Zealand Graphic, Volume XLVIII, Issue 11, 11 September 1912, Page 13

Music and Drama.

By

BAYREUTH.

bookings. (Dates subject to alteration.) HIB MAJESTY'S, AUCKLAND. August 31 to September 14 —Pantomime. September 23 to October 12—Oscar Asehe, Lily Brayton. . October 14 to 10—Plimmer-Denniston Co. October 29 to November B—Aucklana8 —Aucklana Amateurs, “The Mikado.’’ AUCKLAND TOWN HALL. Evcrv Evening -The Royal Follies. October 2— Complimentary Concert to Mr J. C. Muston. AUCKLAND PICTURE SHOWS. The Lyric Theatre, Symonds StreetNightly. Royal Albert Hall, Albert Street—Nightly. WELLINGTON OPERA HOUSE. August 31 to September 12—“ The Blue Bird” Co. September 23 to October 2—Plimmer-Dcn-niston Co. October 19 to November 2—Oscar AseheLily Brayton Co. Are We Becoming Less Musical 7 TJ NDER the above heading there re- ( I eenitly appeared an article in the London “ Chrondele,” dealing with the waning popularity of concerts, ©very year, in New Zealand, owing to the more frequent visits of English inusiual favourites, and the large i.iirnbers of our musical public who-visit England thenuselves, our musical taste tends to coincide more closely with that ol the English public. Thus a topic of great interest to us is the question propounded by the “Chronicle.” We quote a portion of the contribution: — “ A striking feature of the past few musical (seasons has 'been the waning popularity of concerts of all kinds. Those whom business or pleasure has taken constantly into the cmeert-hall both in London and the provinces have . 'had abundant opportunity for noticing this remarkable decline in its attractions. Favourite concerts of long-established character, which seemed firmly fixed in puWi'c esteem, and always sure of a large ami crowded audience in the past, have been faced with dwindling numbers in attendance for some- time. In London the change lias been most marked. For example, the various popular Sunday concerts, always so crowded years ago, have only attracted moderate support lately, and such favourites as promenade i imieerts, Saturday symphony concerts, and “star” artists’ recitals have all Buffered in like degree. From the big provincial towns one hears of a similar decline. Many of the big choral societies ure .cutting down their annual number of eoneerts and engaging second-rate artists, because they find the clientele for t heir eoaieerts is a diminishing one. The tig festivals held .periodically in various cities have, it is well known, suffered severely from the same cause, and even private concerts, always such a comfortable source of revenue to artists in tiic past,, are rapidly diminishing almost to the point of extinction. From this it would seen clear that the public is losing its taste for concerts, not only of one. particular kind, but of all varieties. ‘Naturally the musical profession,, or, at any rate, that part of it which .is concerned with the entertainment world—the singers, players, agents and managers—regard with a certain amount of alarm the present state of affairs, which one cannot consider as only a temporary crisis in tire musical world,” Music Hall Competition. The “Chronicle” continues: “ Tha truth is that the musical world is in a sta'te of evolution, and*the causes of the cliange it is bringing about are not hard to find. Briefly, tiie giving of musical entertainments is being transplanted to other places than those hitherto exclusively associated with them. The iiighylass concert (choral, orchestral, vocal or inwtrumeuital r.ritaJ) is being supplanted by the up-to-date music-hall, of which such theatres as the I’alace, Coliseum and Hippodrome are typical examples. A' 3 lance at w'hat these iltalis liave been ring for the past year or two will show 'that they provide those who care for it with the best music. Think for the moment of what their programmes have recently contained. We nave eecn Elgar, Leoncavallo, Maacagm and other wellknown eompoaere conducting their own works at such variety theatres. Kingers pf the rank of 'Edyth Walker, Maggio Teyte, Ben Da vice, Hoary Dearth and many others are all to he heard there,

and innumerable piajiiste, violinists, ’cellists and instrumentalists of all kinds, of high artistic merit, are to be heard constantly at almost every hall. Then, again, you can get grand opera and light opera, in “tabloid” form, with good artists, and choral singing and various other forms of music hitherto confined to the concert room or to the opera house. Consequently the music-lover van find a good deal to satisfy him in the programmes of marly of the musiehalls of to-day. Moreover, in addition to the music, lie gets entertainment. in other arts as well, all for a price which is frequently Jess than that paid for Hie same kind of seat at a concert. Small wonder is it, then, that if there is to be a choice between a concert (part of the programme of which may not be particularly attractive) and a diversified entertainment at a music hall, with quite a good deal of first-class music thrown in, the latter usually wins.” What the Critics Think. This is the editorial comment of the “Musical Standard” on the article: “ The concert business has certainly been greatly overdone: hence we have smaller audiences than in the past, But that does not mean, collectively epeakin, that fewer music-lovers are going to concerts on Sundays. We feel confident tine reverse is the ease. Tliert, although the music-halls have vastly improved during the last few years, it can scarcely be said that they appeal to the claas of music-lover who ■wants to listen io (say) “E in HeLdenJeben” or a Moaart symphony: two extremes. Therp is not a London music-hall band t'hat is within measurable distance of being compared with our best concert orchestras, and as to the emsdactors —well, ve prefer not to say what we think.” ___ It is also suggested that the reason of the failure of many eoaraerts, is that the promoters have neglected to set » high enough standard. A Hopeful Sign. On the other hand, Airs Franz Liebich is of opinion that “the general public’s aloofness from the perennial appearances of familiar virtuosos, budding executants and their hackneyed work, is a sure proof of improved conditions and keener perceptions. The real awakening of the public to a genuine love of music for anil in itself, is bound to cause a revolution against the existing state of affairs. As yet the symptoms of this revolt are not perceptible to the many, though even these have felt a certain inquietude growing around them and a consequent unaccountable discomfort which they resent with all the powers of their sluggish being. But the alert and observant are noticing and welcoming the growing independence of thought, the love of freedom and liberty which are enabling a certain section of the public to emancipate itself from the tyranny which uses minds as sensitive plates wliereon to imprint names and opinions.” The Two Camps.

Two camps have been forming in niurie. In one will be found all the pedagogues with their antiquated theories for the artificial manufacture of executants and for the production of singing voices. The mechanical human mediocrities who work like galley slaves on these methods for the development of their ten lingers or their vocal cords are there; also those self-conscious mortals who contrive and plot and cudgel their brains to combine exploited harmonies on paper for the production of manufactured compositions labelled according to their nationality, “British” or otherwise.

In the other camp are the inspired, instinctive geniuses who have moved forward as pioneers to conquer unexplored realms of sound; also all nature’s musicians whose achievements are mainly the direct result of inborn talent or genius; and all those wise men of the art who, (scorning to amble along beaten track*, have followed winding byways and risked adventure in the wake of the pioneers in order to gain renewed vitality for the art they serve. A Bored Public.

•in some unknown tidepathic way even the ordinary general public has got wind of these matters. It cannot define itH

reasons or its beliefs. It feels what is in the air, it catches the prevailing tone of things, but it cannot express Its feelings or attune 'its thoughts. But somelow it knows that it le tired to death of artificiality, of human machines and of meaningless lioteh-poteh programmes. It feels that the period in music from Bach to Wagner has been exploited to weary lengths, to the detriment of less known older composers and to the boycotting of contemporary work. It knows vaguely that contemporary eompoeefro in France, Austria and Hungary have transcended Wagner and Ntrauss in their sonorous discoveries. It is perfectly well aware now of the existence of Debussy, and it is bored by the reiteration of his name as seemingly the only French living composer when it is quite ready to acclaim the genius of such men as Ravel. Florent, Schmitt, de Sever*.’, Dukas, Roussel and others. ,

Shakespeare the Musician. Sir Henry Wood has recently been responsible for a series of concerts, all the music at which has been inspired by the works of Shakespeare. Some of the music, like the fanfares of Smetana and Grieg's little “Macbeth” fragment called

'The Watchman’s Song” is unpretentious enough; but compositions, like Liszt’s "Hamlet,” can lay claim to some importance. The idea of devoting concerts to works directly inspired by the dramatist is a good one, for it impresses us with the enormous influence which Shakespeare has exercised over men of many nationalities and diverse temperaments. We find musicians taking a subject and treating it from many standpoints. Svendsen, Berlioz, Tchaikovsky, and Gounod were composers with very little in common and each wrote a work based on “Romeo and Juliet.” It must be plain that to know these is interesting in itself, and, for the music student, instructive. It must not be thought, however, that the pieces with which we are tolerably familiar exhaust al! the Shakespearean music. For some of the compositions inspired by the dramatist have fallen out of the active repertory. Among them may be mentioned Max Bruch's “Hermione,” founded on “A Winter’s Tale.” But the extraordinary, thing

about thi» question is the amount or music which is connected with Shakespeare’s name. We should not forget that some composers were attracted to Shakespearean subjects, but never actually treated them -Verdi, of course, gave us •‘Macbeth,” ‘Othello,” and “balstair.’* But it is interesting to know that in* contemplated writing an opera on “King Lear.” The absence of a love interest, however, seems to have proved too groat a deterrent. The Prince of English Music. Apart from all this there is a very intimate association between Shake speare and music- Shakespeare lived in a time in which much vitality was ex hibited in musical circles. We know of Henry VIII. and his recorders, and Peter the Groat’s love of etchings which mani tested itself in the salerooms of Amster dam. But quite as enthusiastic a* either of those monarchs was Queen Elizabeth, who is described as having shown much talent at the virginals, and as having taken an active interest in the musical progress of the nation. The voice of music was abroad. Every aspect of life was accompanied by appropriate Across the wooded hills, on the village common, in mansion and cottage a real love of the art revealed itself in divers manners. It is .said that Sir Francis Drake, while on his expeditions, dined and supped to the music of violins. Practical Musical Knowledge. We may take it, therefore, that Shake speare heard much music. Probably i« great deal of it was of a rustic nature with the falterings and shortcomings < I such, but nevertheless sincere and Ir. ing. This evidently made a deep impression upon him. It would be difficult to determine to what extent Shakespeare could be called a musical man. It is one thing for an author to bo able to use one or two stocU phrases, and another for him to show that he understands the art from the inside. Shakespeare, wonderful in a, hundred ways, is wonderful in this also. Judging from a technical standpoint, we may say that he is more accurate than the average literary man. Like Balzac and 'Nietzsche

he makes frequent reference to nnimc, and. in his own way, shows a. sympathy with it and a line reeoghition of its place and powers. In his cane these references are peculiarly noteworthy, For whereas Balzac learnt much through personal contact with friends like Mme. do Briny, and Nietzsche, attracted to the Wagnerian movement. was for a time immersed in it, Shakespeare’s excursions into the musical .province are die direct outcome of a great joy in itscharins. It is impossible to mention all the references which are so piofuscly scattered through his works. But. without quoting the hackneyed extracts, one may Ih* forgiven for pointing out how happy lie is when speaking on music ami its place in life. 'l'o him it is something iral. !■ is the human side of it that attracts him. He mentions tin' i-ustrmnents popular in his day: the tabor, the tin*, the virginal, the viol, the lute and Ihr bagpipes. Nor is dir vocalist forgotten, for we read of the second-rate singer. It is evident that to him the art of sound is full of fascination. And whether his reference is humorous or ful; of enthusiasm, lie speaks with the voice of one who knows and understands. In “King Lear" we find one passage which makes us think that Shakespeare could boast of some technical knowledge. Edgar says; “How upselling fa, sol, la. mi.” The reference is to what was a forbidden succession of notes. In ‘‘Othello’’ he makes use of the idea of discord in a way which is in startling contrast to the haphazard manner of many writers of fiction. In the same play there is a remark aboti' hit mg “down tin* pegs.” A Genuine Music Lover. It is true that examples can be adduced from his writings to prove equally that Shakespeare was a lawyer, a sailor, or anything you please. But the frequent introduction of all forms of music Into his plays, and the intimal? knowledge! of small technical details, which would not be available for the superficial observer, tend to show that Shakespeare Was a genuine lover of music. In deeper moments he writes of it with great effect. Many musicians will appreciate Ihe mood of the line given to Jessica in ‘ A Merchant of Venice": “I am nrver merry when - I hear sweet In tender passages he is equally• successful. <>l thi> the opening of “The Twelfth Night” is proof. With such‘evidence at baud one is Justified -in sa'viiw that,

JiaiKi ’me is pisuiieu -in saying mat Shakespeare had no small know ledge of the art. Some of his most arresting.hues are woven round a musical idea.' Many of tie* phrases which speak of ihb ’‘concurd ol sweet sounds” have a. peculiar, haunting power. A great pmd might ha\e written such a eoiqdct as “How silver-sweet siminl Livers' tongues li.Y iiiyli I. Like softest music t<> aitemling ears’." or spoken of “one string, sweet husband tn the other.” But the number and diversity of Shakespeare's allusions to music in its many forms proves an active interest in it. \ cleVvr until can write eloquently about it without being particularly sen-itive to its influence, but That by Shakespeare it was regarded seriously mu-: be obvious to the careful student of his works. A New Zealand 'Cellist. Report- of line success of Mr Arnold 'lroWell's career as a violoncellist continue to reiii’i U-. thp last- being in the violin supplement of the “Musical Slan<l i rd” for July *27. Mr TroweU was horn in Wellington in ISti7. ami l-egan his musical edu- alien iiudcr h : .s father’s guidance. Later, he studied at FrankJorl. under Herr Hugo Be k<>r. ant afterwards at the Brussels* I‘on-erva toiire, •where he gained 1 he first prize for ’cello jd.tying. His first appearau e in London wa- tin 19(17. and he has since toured extensively in l he provinces with such arTists as Melba. \l ii< hr-i and Mark Hamhour g. ’l’l io ugh still quite a young man. Mr Trowell ha- produced a large num bur of compositions, among the m<.»re ambition- Laing a symphony, a concert overture (“Agla\aii:c ami Srly-et te”), a violoncello rom-rto. and a pianoforte It o. He ha- in addition published about 40 -mailer pieiv- for t he* ’.-c’lo. Madauie Kirkby Limit. Australian engagement - hive prevented Madame Kirkby Lfinii reaching New* Zealand a- early a- vv a - anticipated, ami it has now hen derided th it she will give three concert* in Vuekland about iF \ oyeiiiber 19. \fter lei viiig' Auckland, ■three eoneerls w II bp given in Welling ton and Christchurch and two in Dun-

edin, after which Madame will sail for •Hobart—about the middle of l'<\eniber. Starving for Art. One of the must interesting of present-d-ay (English composers is Mr Joseph Holhrooke, whose opera, “'rhe Children of Don” (dhe libretto by an English peer), was produced the other day at the London Opera House. Air Holbrooke has luad to starve for his art, and to fight Juis way' to recognition in the face of 'hardship and contempt. The son of a musician, lie was sent at 14 to the Royal Academy of Music, vvhere they taught -him to play the piano, but showed no sympathy for his compositions. “ Your music is horrible. You are on the wrong track, and you will never be able to sell a single copy' of it.” When he was 17 'lre had 'to leave the Academy' to earn his own living. A Comic Song Composer. As a deputy for his father he hid become acquainted with many of the vohre singers tat the halls, ami they' often got him to set their “poems” to music. Hundreds of these comic songs were composed -by him, ami he scored them for the band for a fee of .“»/. He turned his attention to the theatre as offering the most immediate means of getting a living wage, and started as con-due to<r of a band of ten with a travelling pantomime company at a salary of £1 a week. The band dwindled to three, and young Holbrooke was expected to conduct, play Ihe piano, and compose all the songs

used. The of heir. two musicians were fcuxh bad executants that he refused to play with them, so they left, and the orchestra wa- reduced l-> one. Tardy Recognition. In the midst of this drudgery the young man worked at higher composition, ami sent a symphony inspired by “The Raven” to Sir August Manns at the Crystal Palace. The famous conductor asked him to (-.ill. but Holbrooke was -obliged to reply that he could not afford to ho? his employment. Soon after this, howa-wir, one ot the actors in the company, with a view to incieas ing his ca-rnings, suggested that he should plav the piano, and the manager disnii-.-'sed 'Holbrooke. Iho young 'man at -once went to London, and arrived at Sir August Manns’ house looking haltstarved. The*successful musician gave him a good meal, -aid kind things about “ Tho ilvaven,” ami promised to pub-li-a it at his own expense, and play it. Ihe Avoirk was prodir-vd in 191)1 and well received. Soon after the composer began a -Gar(‘(‘ir as teacher of tin* piano, and as time went on his works wore produced at some of the great provincial festivals. His mu.-ic which hi- been produced ther* forms but a very small pari of the 21) orchestral and 2D chamber works, the five operas aTid H)0 songs he has written, in adtliliou to ,-oiue 21)9 pieces which •have bt an puldb'hi’d a remarkable fi-ciimlity of mus’nal invention in a man who is barely ”4. Bernard Shaw in Paris. Il was vvitli this letter to his translitor, reprinted on yellow poster- ;iud placards all over Paris.’ that Bernard >haw opened his reunt campaign in the I'l iMich capital: — **.My' <lcir Hamon, Par - is alwavthe J«a.-t !(‘ity hi the v\ rIJ to dscovcr and accept, an aiiilu r or composer of intel national repu Ia t ion. Lon ton is Twenty-five year** ladiiml the times, and Paris it'Cii yea-ivn behind London Paris is a marvidhms city. But I’arLians h-av‘ uot yet (Itscovc.red Paris. Il is not sur-pri-rng, Thon, that they have not ya ; l discovered me. In tun y ea.ra i’ariu w ill di»eover me.”

This sky-rocket went up *an I eame down. Nobody challenged anybody to deadly’ comba't. Paris, uirmovc l, awaited the attack. It b?gan on Loth s'.dr* of the river at once. “Aims rand the Alan” at the largest theatre on the left bank, and “Airs. Warren’s Profession” at the nio-st literary stage on the right, the Theatre deis Artsy. Pans walchel with 'interest, for should this <anrpaAgn fail, a<lid that of “Candida,” in 19U7, there would evidently be nothing for Shaw to do but a-etreat in good order acr.:.-s the chaimiel. The first ]day in the recent c.impaign made little iniprc- sion. but “Airs Warren” remuiiie'd -to pasrs to its eightieth per forma noe. It met with i.-ome praise, w-ome blame, for each of wh’jh reason was given ail length in every Irad’ng nevvispape.r ami magazine; but most of iall, it met vvit-h a judgment on its merits, apart from persiowal or tsoii'al prejudice, ®uch as the play h.as had to wait all years to receive. For the French public did not huve to look ait “Airs \Va ; rreii’'s Profesi-ion” th-rough its lingers. Engl'sh audien es Lad first to be informed of the exisTm *? of Airs Warren's line of bit-'ine-'s, end even after they* had allowed it p.ovi--s'io’nal existence, they had to suffer a fresh pang every’ time anyone on the stage -referred to it ever so obliquely. The French smarted with i?:o such h ur lira p. With their mania f. r prec’sioii, they had provided for Alia Warren in the dietiomairy. And tdiey are nob

-.-'ll -ked eaisd 1 y. They are not s 11 oc4 at all at a plaiin isdatement of something that 'indisputably exi-its. and an attempt to refer this co'-idition to its proper place in llr? -octal sire (•title. As calmly as this did the Parisian public go to see "l.p Profe-'S'i-on de Mme. Warren” with but a ilkker of civriu-iiy as to vviiui could have -caused stub a s- indal to the unaccountable English. “'l'he idt.t of the 'play.'’ s i v -■ "La Rev ue.” “.is curious and powerful, (hie ( ould formulate it thus: No morality: without wealth; no wealth without priniTive immorality. The origin of all morality is t-lieme. in general, immoral. It is a luxury that only the secon.l generation can afford. I'o illustrate his liic-is, the author has chosen a p’ece at (Mice picturesque and extreme” '.ml with this M-m. 1 . Warren shipped indo her pl*\e in the cosmos as quietly a-s -a •doeu-m.ml into a pigeonhole. Il does reduce fri tion not to be .-'hocked. Indeed, a gene •ral study’ of the .situation shows that if Shaw lias not conquered .Paris, he his been allowed 'to withdraw with all the 'honours of war. “Such plays,’’ says one of Shaw’s French champions, “require the collaboration’ of the -audience, and this 'takes time to cultivate. He has ag.iinst him the very novelty and profundity of his ide us.” ‘ Nobody's Daughter.” A recent Sydney Press report of “No body's Daughter”: “ 'Those* of my sex who take their pleasures mournfully. cannot do better than pay a visit to ‘Nobody's Daughter.' It is a pretty' play, but Mrs Brough, who plays the rob* of 1 he mother who has bumped her head hard against the laws of convention, is such a picture of hopeless despair and broken heart that I blame her for the wettest pair of eyes and the reddest nos? that I ever wore at a theatre. As an emotional actress. Mrs Brough has nothing to learn from imported stars who visit us with a great flourish of trumpets.” The Oscar Asche-Lily Brayton Season. Although the three weeks' season <»t Mr Oscar A sc he and Afisn Lily Brayton

does not commence until Monday nig’du next,-the wdioje of the scenery, wardrobe, properties, electric effects, the monkeys, the (snakes, the donkeys, the six stalwart Nubians, also the stage manager, the musical director, and th? mechanical and electrical staff, have already' arrive 1 in Auckland, and preparations ar? in rapid ju’ogress for the final rehearsal <»f “Kismet,” which is to take place og Saturday night next, the theatre having been specially engaged for this purpose. Air Oscar Asche, Miss Lily Brayton and Mr B. A. Meyer, their general manager, are due to reach here from Wellington by t i-morrow morning’s Alain Trunk express, and Air Asche will personally supervise the final preparations. That people are regarding the visit of Oscar Asche and Lily Brayton in the light of a great event has l»°eii evidenced during the past week at th? box office, where there has been a constant stream of inquirers, anxious to ascertain the precise arrangements which have been made in reference to th? facilities provided for booking seat». The J. Williamson, Ltd., management are to be commended for their enterprise in presenting New Zealanders with aa opportunity’ to reserve seats for the forthcoming season at a much lower rate than was charged during the Oscar Asciis-Lily Brayton Sydney and Melbourne seasons, and this decision should result in a record hooking. Owing to the brevity' of th? Auckland season, only five performances can b? given of “ Kismet,” and the remaining 13 nights will witness the presentation of a aeries of the Shakespearean productions in which Oscar Asche and Lily Brayton created a furore during their first visit to Australia. “Kismet” will be followed in the order named by “The Taming of the Shrew,” “ Othello,” *'l ho

Merchant of Venice,” and “The Merry Wives of Windsor.” This repertoire of the bard's works should fill the most ardent lover of Shakespeare with the utmost delight. . ! ♦ - - Mr Asehe'recently informed an interviewer that-‘'Kismet” could easily have added another two years to its successful London run had he not had to leave to, fulfil his Australasian engagement. There are ten scenes in the play, tha action of which takes place in the City of' Baghdad of the Arabian nights a thousand years ago, and the scenery has been painted by the famous English artist, Mr Joseph Harker. .Mr Oscar Aseho is said to be magnificent as Hajj, the reven"eful beggar, who rises to greatin ss and sinks to degradation once more in a single, day. Miss Lily Brayton will make her debut here as Marsinah, Hajj’s daughter, and the rest of the east will be portrayed by the name companywhich assisted in the success of the London production. The box plans for the live performances of "Kismet” will be opened at Wildman and Arey’s to-mor-row (Thursday) morning, at eight o'clock. A queue will be formed from The De Cisneros Concerts. The first of this series of concerts was given at the Auckland Town Hall on Saturday night. There was an audience of about 1,000, so that the acoustic properties of the hall were at their worst. In spite of this fact, however, the three artists who appeared were able to arouse their hearers to a high pitch of enthusiasm. Saturday's concert showed that l he ('nuntess de Cisneros is above all an operatic singer. Her opening number, fs.intiizz.a's aria, " Well Knowest Thou, Mother,” from " (,'avalleria Rustieana,” was her best performance of the evening ami was marked by a fine appreciation of the tragedy' embodied in the musie. As an encore number to the group of songs at the emi of the first part, the singer gave Brunnhilde's call to arms, from “ Die Walkure,” which displayed again her evident preference for opera. The ‘‘Habanera” from “Carmen” was also well sung. As a concert singer the Countess is less impressive. Her most exacting number in this part of the programme, Schubert's “ Serenade,” was not well chosen, as it is by no means the best of the composer's songs. Of the remaining numbers, "Will o’ the Wisp” (Spross) was much the best. Bartlett's "A Dream” and Tours’ "Mother o' Mine” show no such excelhin e as would justify their inclusion <>n a programme by so gifted an artist as the Countess de Cisneros. The tenor of the party, M Paul Ditfault, gave a fine rendering of "Champs I’aternels,” from Mehul's “Joseph in Egypt.” In the second part of the programme he sang "Morning” (Oley Speaks), "Boat Song” (Harriet Ware), and “ Invictas” (Bruno Huhn) —all good honest songs, but missing the touch of that quality which makes works of genius. I'he last of the three, " Invictus,” a setting of Harley’s fine words, received such an enthusiastic reception that it had to be repeated. M. Dufault is a firn l artist, and should be at his best in opera. The well-known duet, the “Barcarolle ” from “ The Tales of Holi'mann,” was well rendered by the Countess de Cisneros and M. Dufault. Mr. James Liebling is a tine ’cellist, with great powers of execution, and a true sense of art. His opening number. Goltermann's “Concerto in A Minor,” though as musie it never rises above mediocrity, is well adapted to show Mr. I.icbling’s mastery of his instrument. In the opening slow- movement, Mr. Liebling displayed a line and powerful tone, which must have been heard well in every part of the house. The second movement was notable for the virtuosity shown in the rapid, double-stopping passages, which abounded throughout it. A burst of applause from a large section of • he audience, during the transition from the first part of the concerto to the second. in no way added to the enjoyment of the performance. Popper's “ Taranlelle” afforded another opportunity for the display of Mr. Liebling’s powers of execution. From the point of view of the music-lover, the rendering of Schumann's “Traumerei,” the encore number to the "Tarantelle ” was the outstanding f'-at of Mr. Liebling, though Caesar Cui's “ Cantabile’’ was a close rival. Mr, Liebling is such an artist that I am convinced some slight apparent faults in intonation must be blamed to the hall. The disappointing feature of the evening was the poor quality of mm-h of the music chosen for the programance. It

is a great pity that the only people who can give us adequate interpretations of the very greatest songs, w ill persist in singing music of the class of “A Dream,” “The Rosary,” “A Bowl of Roses” and “In My Little Garden.” “ Come Back to Erin” can be pardoned, on account of its national association with the singer, and it certainly found favour with the audience. But the modern ballad has no associations, and no justification in the programme of an artist. In the absence, through illness, of Mr. Whittle, Herr Wielaert played all the accompaniments with accuracy and great taste. The Southern tour of this fine concert party is planned on a liberal scale. They appear on Saturday, September 14 at Napier; on Monday, September 1G at Palmerston North; on the 17th and 19tn at the Wellington Opera House, on Wednesday, September 18th at Wanganui, and on Friday, September- 20th at the Town Hall, Wellington. Complimentary Concert. On October 2, in the Town Hall, a grand complimentary' concert will be tendered by the Auckland Orphans’ Club to the honorary conductor of their orchestra. Mr. J. ('. Muston. Full particulars will be given later. The Royal Albert Hall. During the past week good audiences have been attracted each night to the Royal Albert Hall, where splendid programmes continue to be presented, with an endless variety' that becomes bewildering. An interesting announcement is made this week by the management, who intend to screen a fine film dealing with Dickens’ famous work “A Tale of Two Cities.” The thrilling story is magnificently acted, and the picture should prove a big draw. The Misses Knight's Concert A complimentary concert was given in the Town Hall last week to Misses Elizabeth and Aladoline Knight, two ladies who are exceptionally well-known in Auckland musical circles. They intend proceeding to Dunedin, where they will continue their vocal studies, with a view to appearing in the concert halls of Australasia. Both the Misses Knight sang delightfully at the concert under notice, and others who contributed to a most enjoyable entertainment were Herr Raimund Pechotseh, Air. H. C. Borradale, Miss Zoe Bartley, Air. Alan McElwain, Air. Egerton Pegg, Air. Montague, Air. Wilfred Manning, and a male quartet. The Lyric Theatre. The Lyric Theatre has been well patronised during the past week, indeed the regularity with which the crowds roll up at this popular place of entertainment is a proof that the management secures the right kind of programme. People have a wide choice when it comes to picture theatres, but the big audiences which can be seen at the Lyric know what they want and what is more, they know where they' will get it. The Royal Follies. The Royal Follies, a party of three ladies and four men, auspiciously' opened an Auckland season in the Town Hall Concert Chamber on Monday night, presenting a varied programme of all-round merit to an audience that would have been larger had eounter-attractions not been so numerous. The company is capable of good entertainment, and should enjoy a successful run. Of the lady members of the party .Miss Audrey Hazel is a clever comedienne, bright and gay and winsome; Aliss Devenia Clinton, a soprano of wide range and volume, and a striking vocalist; and Miss Rita Sullivan is an efficient accompanist. Tha male performers include Chester Harris, a baritone of good calibre; Charles Callow, an attractive tenor, Harry Graham, an irresistible humorist, and Frederick AVhittlow', a capable elocutionist. The whole entertainment is refined and clever as well as varied, ami meets the popular demand. Stray Notes. Madame Slapoffski is now’ in London, at Kilburn Priory, Kilburn. .She intends returning to Sydney by the end of tho year. It is expected that she will appear at concerts and in oratorio work in England-. Madame .Slapoffski studied under Aladame Haieh Dyer, and later under the late Manuel Garcia. A rather good story is told of a circus manager who. having become director of a small French provincial opera house,

found one day-that he needed: the services of a tenor for a special performance. He applied to an agency, who recommended to him an artist at a salary' of 18 per night. “Eight pounds,” exclaimed the indignant director, “for a man who only’ sings! Why, in my circus 1 had an aerobat for fg, who risked breaking his neek every time he appeared I ”