The STAGE

New Zealand Illustrated Sporting & Dramatic Review, Volume X, Issue 478, 21 September 1899, Page 9

The STAGE

[By

Orpheus.]

“ Orpheus ” will be glad to hear from those managers of theatrical companies touring New Zealand who desire that the public shall know the movements of the companies. Any information as to dates, etc., will be acknowledged in these columns, as well as any other items of Interest to the theatrical world. All letters should be addressed —•* Orpheus,” Sporting and Dramatic Review, Vulcan Lane, Auckland.

Haydn’s “ Creation” seems doomed to suffer at the hands of topographers. Not long since “softly purling” was printed “ softly ■pushing'' and now The Manawatu Times, per an Auckland 1 journal, saye : —“ Miss Lorrigan’s reputation was fully sustained last evening, and the rendering of the portions of the work allotted to her left . nothing to be desired. Undoubtedly her best effort was the delightful and popular solo, ‘ On Mighty Saul' of which number the singer gave a most artistic rendering ” Whether the “mighty pens" of the critics, or the mighty printers, are to blame for making Saul one of “ The Creation” prophets does not appear, but that Miss Lorrigan’s singing of “ The Creation” music, and especially of “ On Mighty Pens” is deserving of the highest praise no one who has heard her will deny.

The Matinee Society.—At St. Sepulchre's Parish Hall, on Wednesday in last week, the new enterprise was most successfully launched. The hall was crowded with an appreciative audience, and a well-selected programme faithfully and capably rendered. Miss Batger, to whom belongs the credit of promoting the matinee series, appropriately opened the concert with Chopin’s “ Fantasia Impromptu,” in the execution of which she displayed high qualities of both technique and taste, deservedly meeting with an enthusiastic reoeption. Madame Chambers, in excellent voice, won great favor with Rubinstein’s charming « Beveries” and Schubert’s “ The Inquirer” and “ Faith in the Spring.” Beaders will doubtless remember Miss Evelyn Wyman’s brilliant success at the Auckland Exhibition competitions, when she easily carried off the gold medal for piano playing. Her contributions on this occasion were a selection from Beethovan’s Sonata op. 2, No. 3, and two wiorceaux by Chopin, all of which were tastefully rendered and loudly applauded. A trio (by Lachner) for violin, piano, and viola was artistically played by Misses A. Stephenson, A. L. Colgrove, and Dr Cox. Miss Stephenson’s violin solo, the andante from Beethovan’s Sonata op. 2, No.' 12, received artistic treatment and displayed an admirable technique. The society, after so brilliant an initial success, is assured of

popularity and should do real service in cultivate . ing public taste for high-class music. I should mention that encores are vetoed in order to keep the programme within bounds.

Miss Amy Castles. —Many of the world’s greatest artists have striven and struggled for years ere they could measure their success with that of the young girl whose public musical career is but some three months old. A very capable Australian critic sums her up as follows: —“ Of the young Victorian’s voice as it is, only one opinion can be expressed—it is a great voice. Of its possibilities there may be many diverse opinions. Miss Castles was hailed in Melbourne as a dramatic soprano, for instance. Whatever the possibilities, she scarcely has the ‘ dramatic’ quality as yet, so far as may be judged from the items selected by her for last night’s performance. Her voice displays great power and delicious purity—every note is clear, full, and rich. She sings seemingly without the slightest effort, as a bird would. But these excellences do not constitute a dramatic soprano. She requires a temperament that embodies every note of human passion. Her voice must not merely soar with the lark or skim lightly over the fin de siecle sentimentalities that constitute the modern ballad. It must plunge into the maelstrom of passion—be whirled away in maddening eddies. One does not say that Miss Castles’ voice is incapable of this, but, taking her chosen songs into’consideration, it is hard to pronounce as to whether she is the true ‘ dramatic’ soprano or not. Whatever European training may do there is the voice to commence with, and that is the great thing. Perhaps Miss Castles gave the most distinct hint of power in Tosti’s ‘ Good-bye,’ though the same evidence of surprising robustness was given in ‘The First Love Song ’ (composed for her by G. S. de Chanest). Goring Thomas’ ex uisite ‘Wind in the Trees ’ and Cowen's ‘ Lovely Spring ’ gave ample illustration that her voice is delightfully flexible and under control. Hope Temple’s ‘When We Meet’ confirmed that impression.” In the same critique {Bathurst National Advocate, August 19) Miss Maud Hewson receives favorable notice : “ The reception accorded to the contralto was a most gratifying one. She repeated Randegger’s ‘ Joyous Life' and, after that rippling little piece, gave a most artistic interpretation of Behrend’s ‘Daddy.’ Miss Hewson selected for her second item Gluck’s ‘ Che Faro,’ and artistically met all the demands of that exacting aria. Her encore number was ‘ The Children’s Home’ (Cowen), sung with all the artistic effect with which Miss Hewson is able to treat ballad compositions.” Mons. Henri Staell, the eminent violinist, assisted at the same concert and scored a signal success, so our New Zealand contralto is in good company and holding her own brilliantly.

The Hellers Mahatma Company has had a very successful tour in Queensland. After visiting Bockhampton, Mount Morgan, and Brisbane, the company leave for India and East early next month.