Music & Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume II, Issue 71, 3 December 1891, Page 1

Music & Drama.

Spectatum admissi risum teneatis amici ?

Cowen’s Sleeping Beauty.

: On Tuesday evening the Auckland Choral Society performed Cowen’s Cantata with a fair measure of success when the inherent difficulties of the work are. taken into account. There was a very crowded house, and the atmospheric conditions handicapped the singers, none of the soloists being in their best voice. I have always admired Mr. Cowen’s songs and pieces de circonstance for the orchestra, e.g.., “ The Language of Flowers,” etc., but when he aims at more sustained efforts, such as “ The Rose Maiden ” and the cantata under notice, he somehow leaves an impression of striving gallantly, but never quite “ getting there.” His orchestration appears to be unduly tortured in the direction of ornament, and leaves a sensation on the tympanum of never ceasing twiddle-iddle-iddle 1 He is always trying to knock twelve o’clock into fourteen o’clock, and consequently interlards his vocal and instrumental numbers with difficulties which require the services of accomplished professional artists to interpret, and even with the best rendering strike the listening ear rather as tours de force than truly satisfying music. Nevertheless there are some exquisite morceaux in the “ Sleeping Beauty,” both vocal and instrumental. The cast was about as strong a one as the Society’s resources afford, but it must be admitted that the band was overweighted by the load of orchestration piled 'upon its young shoulders. Still under the skilful pilotage of Herr Carl Schmitt all serious dangers were averted, and the journey was completed without a capsize, although the roads were rough and the passengers had to put up with some jolts. To Mrs. Kilgour, who took “The Princess,” I must award high praise. Throughout she sang her music with taste, skill, and intelligence- her only fault being a tendency to hurry the tempo here and there. Her best effort was in “ Whither away my heart,” which was greeted with loud applause. She was also very successful in the refrain, ‘ Ere the buds,” and sang the dramatic lines, beginning “ Am I that maid,” ■ crisply and with due force and emphasis. Miss Reeve, as the “ The Wicked Fay,” showed careful and conscientious preparation, and although her usually faultless intonation suffered from hoarseness under which she was manifestly labouring, acquitted herself nobly in ■ a very arduous role. Her best effort was decidedly in the incantation with chorus and broken arpeggio accompaniment. The passage, “ Guard my roses,,” was exquisitely sung. Mr. . Martin attacked the difficult tenor music assigned to “ The Prince ” with determination, and made several distinct successes. “ Light, light at last,” and one of the gems of the work, “ Kneeling before thee, etc.,” were capitally rendered, the difficult intervals being taken with certainty, and the only defect being occasional lapses in enunciation. Mr. Archdale Taylor was in anything but good voice. Still he sang under the handicap in the finished and reliable

style I always expect from him. Especially effective was his rendering of “ Pure as thy heart,” and the fine passage, “ Such hast thou been to me,” made a deep impression on the audience. The chorus did some excellent work, and the light and shade —especially the diminuendos — were well observed throughout. The benches were not so full as usual, but those present were the pick of the Society. I counted 13 tenors, 22 bases, 27 altos, and 49 sopranos. Among the best choral numbers were “ Draw the thread,” the trio and chorus, “ Thus sing the fays,” “ Pure as thy heart,” and “ Sleep 1 Sleep I ” Reissiger’s overture, “ Yebra,” an interesting work full of dash and vigour, was well played by the band at the opening of part two. Altogether the concert was a greater success than the rehearsals promised, and Herr Carl Schmitt must be congratulated on creditably pulling the Society through a work in which amateurs can scarcely be heard at their best. Herr Tutschka led with care and precision, but one of the first violins at times played painfully sharp on a powerful instrument.

London Day by Day.

Overflowing houses testify to the success of Mr. Bland Holt’s second production—a spectacular melodrama of the kind which invariably hits the popular taste. The piece is remarkable for strong situations and magnificent scenery; but in the hands of less accomplished actors than Mr. Holt and his talented henchmen, portions of the play would undoubtedly be found tedious and fall , flat. Good acting' and crisp delivery made all ' the difference. Mr. A. Glover as General Granville makes a capital heavy father, blending the military martinet and the kind-hearted gentleman with admirable skill. Frank Granville, his son —a difficult and thankless role—is played with characteristic care and finish by Mr. Walter Howe, but it is manifestly a part not congenial to that gentleman. Mr. Albert Norman as Henri de Belleville, a French adventurer and a double-dyed villain, shows great brutality (in “ Master and Man ” he was the virtuous hero). Throughout he plays with power, tact, and intelligence, preserving the foreign accent with unfailing precision. The scene leading up to the murder of his wife (Miss Edith Blande) is a fine bit of work on the part of both. As Patrick O’Brien, Esq. — a vulgar but whole-souled Chicago Irishman — Mr. W. E. Baker turns from the polished scoundrel (Carlton in “ Master and Man ”) to a character which is the exact antipodes, and makes a marked success. His make-up, brogue, action, and facial play are all excellent. Peter Marks, a broken-down attorney who is under the relentless thumb of Harry Ascalon, and has not only to do his dirty work but also to invent ingenious lies at a moment’s notice, is very ably personated by Mr. E. B. Russell. His final assertion of independence and casting off the ignoble fetters is an impressive and skilful bit of acting. As Lord Kempton Mr. H. Plimmer has a minor walking gentleman’s part, of which he makes what little is to be made. As a (light farcical actor Mr. H. R. Roberts, who made such a hit as Crispin St Jones in “ Master and Man ” again shines brilliantly as an' ex-prize-fighter turned into a hansom cabman. His love-making with Dolly Blossom ; his fervid praise of his mare, seen though the window (which Dolly mistakes for enthusiastic admiration for a hated rival), culminating in the shocking apostrophe, “ Look at her legs 1” his altercations with Harry Ascalon, and the police court repartees, were extremely funny. Mr. Harry Norman made a very laughable club porter. Mr. W. Seagrave made up splendidly as a retired East Indian major, and was perfect in his small part. The other minor parts were easilj’ filled to advantage from the resources of so powerful a company. Miss Mabel Russell again covered herself with glory as a street arab combination of crossing-sweeper and newspaper runner. Mr. Bland Holt, as Harry Ascalon, plays one of the modern Shylock parts which he has made such a study of; and no one/ can help laughing at his drolleries. Turning to the ladies, Mrs. Bland Holt has a strong but trying role, in which she acts with a natural grace and truth, which win the sympathies of the entire audience. As Violet Chester, the sweet but persecuted heroine, that talented lady shows her versatility with emphatic success ; besides looking very charming in some exquisitely designed dresses. Miss

Edith Blande scores another big success as Maud Willoughby, the professional singer. Some very dramatic passages are delivered with extraordinary force and effect. Her frocks are also extremely tasteful and perfect in fit, colour, and design. Miss Virginia Vivienne as Dolly Blossom is a sparkling soubrette of the higher class, and proved herself a charming little actress, lightness of touch being quite a feature in her excellent work. Miss Flora Anstead as Dolly’s mother ; Mrs. May Buckley, the coffee, stall keeper ; Miss Alice Rouse, the laundress ; and Miss Carr, the maid, were all completely satisfactory. The strength of “ London Day by Day ” lies especially in the scenery, which is' something superb. The transformation in in the first act from a street scene to a lovely garden, backed up by an Elizabethan hall, is effected by an old but ingenious expedient. The garden unrolls itself, and seems to fall upon the stage from above ; reminding me of a similar effect which I saw at the Varieties at Paris years ago. The interior of the Bohemian Club with its grand pale-blue chandelier, Leicester Square, and the lovely “Pool of the Thames,” are all rare examples of the scenic art. The incidental music arranged by Herr H. Sprake, is admirably chosen and capitally played by Mr. Eady’s excellent orchestra. Last night “ The Bells of Haselmere” was produced, too late for a notice in this issue. An excellent judge of the drama, who saw the play in Dunedin, pronounces it to be the most charming piece he has seen for years. At the Choral Hall, on Friday evening-, Miss Freda Marsden will play a “ Sc6ne de Ballet,” by De Beriot, and a new singer, Miss Murray, will make her debut. Orpheus.