Music, Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume III, Issue 114, 29 September 1892, Page 3

Music, Drama.

[By

“Orpheus.”]

S'pectatum admissi risum teneatis amici?

A Musical Max O’Rell.

M. Kowalski has from time to time kindly sent me copies of Le Courrier Australian, an admirably written French newspaper published in Sydney. To its columns the famous pianist has been contributing a series of articles describing his concert tour in New Zealand. So charmingly does the writer combine vivid word-painting with quaint humour and philosophic reflections as to merit the title I have bestowed on him above. He is truly a musical Max O’Rell, and does not hesitate to relate an amusing anecdote even though the laugh is against himself. Some extracts which I think will prove both amusing and interesting to the reader I have marked for translation. Describing the voyage across, M. Kowalski’s sensitive tympanum resents the dinner gong. He asks : —“ Why not equip every steamship with an American steam organ ? At 7.30 a.m. the organ might play the well-known air ‘ Come into the Garden, Maud.’ That would mean, ‘get ready for breakfast!’ A selection from Beethoven’s Pastoral Symphony would signify that the cutlets were dished. If it happened to be poultry-day ‘ Sing, Sweet Bird,’ might be substituted. When a ship heaved in sight ‘ Nancy Lee ’ would herald her approach with the charming refrain, oh ! 0-0-0 ! oh ! 0-0-0 ! The idea however is, I fear, too practical, and I shall not patent it.” Kowalski’s conversation with his barber on I card the Tarawera is another plum. “ You know, sir,” quoth Figaro, “that the end of the world is fixed for the 7th of January next. The women are to die on the 3rd, the animals on the sth, and the men on the 7th.” “Oh, indeed,” I replied, “but who will shave me on the 6th?” Kowalski’s description of the entrance to Auckland Harbour is both appreciative and poetically beautiful, but the sublime quickly leads to the ridiculous. A customs official asks the musician where he is going to perform. “Inthe City Hall,” I replied. “ The City Hall I” he echoed ; “ but where are you going to put your animals ?” “ I explained that we were a

concert company and did not travel with a menagerie.” “ Oh, I beg pardon,” quoth he with a blush, “but you bear so striking a resemblance to the circus manager who passed through last year.” At the first concert after playing a piece Kowalski relates that an employee behind the scenes thus complimented him—“ Some years ago I heard Henri Ketten play, but you work the piano much harder than he "did." To which Kowalski points a moral by adding the following anecdote —“At Vienna Leopold de Meyer after playing a tremendous pumper approached the Emperor Ferdinand, thinking to receive a word of praise. Quoth the Emperor, who was a satirical wag, ‘ Monsieur Meyer, I have heard Liszt (a modest bow from Meyer), I have heard Thalberg (a lower bow), I have heard Dreyschoch—but I vow that I never saw one of those pianists perspire like you /’ ” * * “ While passing Mr. Wildman’s shop I noticed a group examining my picture which bears my name. I approached nearer. ‘ Kowalski,’ exclaims a feminine voice ; ‘ did he not assassinate the Czar ? What a wicked face ! what a cruel expression ! ’ ‘ What are you talking about, my dear,’ asks a male voice ; ‘ that is Kowalski the pianist —not the Nihilist.’ ‘ Well, I don’t care,’ replied the lady, ‘in all those names ending in H’fyou can smell Nihilism three miles away!’ ” In view of the coming of Signor Foli with whom is Miss Rossow, Kowalski’s estimate of that talented vocalist will be read with interest :—“ Miss Bertha Rossow—a soprano who in Melbourne holds the brilliant post formerly filled by Madame Melba — another nightingale born in that city—possesses nearly all the qualities which have rendered her predecessor so famous —a young and fresh voice such as the Pattis, Nillsons, Frezzolinis, and Marimons were endowed with at the outset of their careers. In public performances Miss Rossow displays her individuality with remarkable force. According to the character of the work she interprets, her features, in perfect harmony with her music, change in expression from a peaceful calm to a passionate enthusiasm. Fair as Gretchen, and with a far-away dreamy gaze which would have enchanted Goethe, Miss Rossow is the ideal Marguerite of both poet and musician. In a word, hers is an individuality which awaits but the hour to compel the admiration of artistic centres.”

The limits of space forbid my quoting many other gems of thought and wit from M. Kowalski’s clever pen. His descriptions of New Zealand throughout are wonderfully accurate and appreciative. Writing in a broad and catholic spirit of many other subjects besides music he is a good illustration of the proverb hVec semper arcum tendit Apollo !

J. C. Williamson’s Royal Comic Opera

Company. On Thursday evening the “Gondoliers” after a successful run, gave place to “ Dorothy.” The familiar and sparkling little opera was capitally staged and played by the company. Messrs. Bracy, Deane, Lauri, Grundy and Rosevear among the gentlemen sustained their roles with signal success. Among the ladies Miss May Pollard sang very well, and acted with a naive grace which charmed her audience. The Misses Florence Young, Violet Varley and Elsie Cameron most ably supported her. I must award a special meed of praise to the orchestra under M. Leon Caron. A feature in. “ Dorothy ” is the graceful dancing of the Royal Ballerinas, led by Miss Lucy Cobb, whose splendid dancing in “Carmen.” during the last season of Simonsen’s Opera Company is fresh in the memories of Auckland playgoers Miss Cobb is ably supported by the Misses Minnie Everitt, Ethel Dale, Millie Osberne, Lena Cassella, Alice Mitchell, and another graceful young lady, whose name I do not know.

Yesterday afternoon Herr Zimmerman, an accomplished violinist, assisted by the Misses Reeve and Thorpe and Mr. G. M. Reid, gave a successful matinee at the Choral Hall. I am compelled to postpone my notice until next week.

Mr. W. H. Jude, whose unique performances as organist, vocalist, and musical lecturer have received most flattering notices in the South, will open a short season here on Monday next. Many of Mr. Jude’s fine compositions are familiar to us, and it will be a great treat to hear the composei’’s own interpretations of his popular instrumental and vocal works. It seems superfluous to remind musicians of the many beautiful compositions which have delighted us for

several years, but I will name one, his setting of “The Better Land.” That is a melody which ranks high among the most pathetic and sweetest compositions from Mr. Jude’s facile fount, and one which will endure for ages. “ The Skipper ” and “ A Thousand Fathoms Deep ” are other well-known songs. I feel sure Mr. W. H. Jude will find appreciation and applause in the good city of Auckland.