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August. 31 — Opening of Oscar Hammer-- 
stein's educational season of opera at the 
Manhattan Opera House. "Le Prophete" 
revived after six years rest. 

September 4 — Beginning of a season of 
Italian opera by the Italian Grand Opera 
Company at the Academy ot Music with 
"Aida. " 

September ft— “La Julve" given at the 
Manhattan after six years rest. 

Ootober 1# -Season of concerts begun 
with Dr. WUUner’s recital at Carnegie lull. 

October 25 D6but of Tilly Koenen, 
Dutch contralto. 

November 3 -D6but of Yolando Mero, 
Hungarian pianist. 

November 4 -First, concert of the Phil- 
harmonic Society. 

November 7— First conoort of the New 
^ ork Symphony Society. Performance of 
ballet music to 'T,es Petits Rlens," by Mo- 

November 8 Opening of Manhattan 
Opera House rogular season. Massenet's 
"Herodlade" performed for the first time 
in Amerioa. 

November 11— First concert of the Bos- 
ton Symphony Orchestra. Max Reger's 
"Symphonic Prologue to a Tragedy” pro- 

November 13— Granville Bantock's “Pier- 
rot of a Minute" produced by the Boston 
Symphony Orchestra. 

November U.— First concert in the New 
Theatre by the New York Symphony Or- 

November 15— Opening of the season at 
the Metropolitan Opera House. 

November 16— Beginning of opera per- 
formances at the New Theatre. 

November 17— Massenet's "Sapho" per- 
formed at the Manhattan Opera House for 
the first time in America. 

November 21 — Ravel's "Spanish Rhap- 
sody" produced by the New York Sym- 
phony Orchestra. 

November 28 — Rachmaninoff produces his | 

third piano concerto with the New York 
Symphony Orchestra. 

November .10— "Czar and Carpenter" pro- 
duced at the New Theat r e. 

December 1 — Beethoven's "Missa 
Solomnis" given by the Oratorio Society. 

December 7 — The M?. 'guiles Trio pro- 
duced Taniev’s trio in I> major, opus 22. 

December 9— D'lndy's second symphony 
produced by the Boston. Symphony Or- 

December 14— Loefficr’s string sextet "Le 
passeur d'eau" produced' by the Kneisel 

December 16 — Mahler's first symphony 
played by the Philharmonic Society for 
the first time here. 

December 23 — Gluck’s "Orfeo" revived 
at the Metropolitan. 

January 2 — Chadviok's "Sinfonietta" in 
D major performed by tlie New York Sym- 
phony Society. 

January 6 — Reappearance of Ferruccio 
Busoni after ten years absence. 

January 11 — William Bifrefs "Sonata a 
Tre” revived by Flotizaley Quartet. 

January 19— Massenet's "Gris£lidis" pro- 
duced at the Manhattan Opera House. 

January 22 — Franchettf's “Germania” pro- 
duced at the Metropolitan. 

January 27 — Rachmaninoff’s symphonic 
poem “The Island of the Dead” produced 
by the Russian Symphony Society, tho 
composer conducting. 

i January 29— Debut of Marie Pelna, the 
distinguished French coiltrallo at the Metro- 

January 30— Liadow’s orchestral ballade 
From the Days of Old" produced by the 
New York Symphony Society. 

February 1— Richard Strauss's Elektra" 
produced at the Manhattan'Opera House. 

February 4 — Fiotow’s “Alessandro Stra- 
della” produced at the Metropolitan. 

February 8— Bruneau's "L'Attaque du 
Moulin" produced at the New Theatre. 
February 8— Le Grand Howland's opera j 
Sarrona" produced at the New Amsterdam I 

February 20— MoszkowBki's third suite I 
tnd palrt of Damrosch's "Canterbury Pil- | 
■rims," music produced by the New York' 
ymphony Society. 

February 23 — Production of Arthur ■ 

Foote's trio in B fiat, opus 65, by the Olive 
Mead Quartet. 

February 27 — Beethoven's Ninth Sym- 
phony given at the New Theatre by the 
New York Symphony Society. 

February 28— First concert of the Barren 

February 28 — First appearance of the 
Russian dancers at the Metropolitan. 

March 3 — Rlmsky-Korsakow's "Sadko," 
produced by the Russian Symphony Or- 

March 4 — Beethoven's "Namensfeir, " 
overture played by the Philharmonic. 

March 6— Tschaikowsky's "Pique Dame,* 
produced at the Metropolitan Opera House. 

, March 0— Hadyn violin concerto, recently 
liscovered, played (two movements) by 
(Alexander Saslavsky at a New York Sym- 
phony Society concert. 

Maroh 10 — Busoni's suite "Turandot,* 
roduced by the Philharmonic Sooiety. 
March 11— Revival of "Der FreischOtz.* 
it the Metropolitan Opera House. 

March 18 — Converse's opera. "The Pipe 
of Desire," produced at the Metropolitan. 

March 21— Kurf" Schindler's concert of 
madrigals at the Waldorf. Jannequin's 
'"Chant des Oiseaux,* sung for the first time 
•re. ; 

Vlarch 21— Revival of Delibes's "Lakme. 
at the Manhattan Opera House. 

March 28— Jean Sibelius's tone poem 
"A Saga.* produced by the Boston Sym- 
phony Orchestra. 

March 29 — Alexander Sebajd plays all of 
Paganini’s twenty-four caprices. 

April 1 — Beethoven's "Choral Fantasia* 
and “Ninth Symphony.* given by tho Phil- 
harmonic Society. . 

W. J. Henderson, j 

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Ernest Newman Writes an Il- 
luminative and Stimulating 
Review of the Unfortunate 
| Man's Career. 





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Mr. Ernest Newman’s life of Hugo 
Vtolf Is published by John Lane Com- 
pany. New York. The volume, a large 
octavo of 279 pages and with 13 Illustra- 
tions, is one of the series, "The New 
Library of Music.” 

The Ufo of Wolf lias been written in 

.-m /■■■' 


Isadora Duncan. 

come with full authentificatlon from 
those among his personal friends who 
are best qualified to sift the faults from 
;the legends. No feeling but one of the 
jmost poignant pity can fill us when we 
German by Dr. Ernst Decsey in four th i* k , of ,_ the * 1 ' owing misery of his life 

or the German and Austrian biog- j but their technique is bad. Nature is 
raphers. Chrysander’s “Handel” is In not s0 P r °digaJ of brains of the first 
two dull volumes and a part, and is 

unfinished. Pohl wrote two volumes of wasteful way. Since the death of 

Haydns life, and he. too. died, leaving 
ihis excellent work unfinished. Jahn's 
“Mozart” was originally in four huge 
volumes. Max Ixalbec.k is still working 
on his life of Bralnns. Over 1000 pages, 
large octavo, have been published, and T - et us tod ay consider for a moment 

IP. taX TormtS. ‘perS ' ^ & aS a C ~ er 

i|th»se earnest, deep-thinking biographers; 

. - ~ UvdLU UI 

j Schubert there is no musician whose 
I Premature end has been so truly irre- 
| P«rable a loss to art.” This last state- 
[ mem is a strong one. There was Bizet 
for instance. 

file life of W olf by Decsey is sup- 
jroseu to be authoritative— tl)e official 
Jlife. It is by no means tiresome read- 
ing. Wolf himself was not a dull man, 
nor was his life ordered according to 
routine, smugly conventional. As is well 
known, he was insane in the last years 
and he died in a madhouse. Some may 
think that his lack of mental balance 
accounted tor strange actions in the 
Vienna of his student and teaching days 
No doubt Dr. George M. Gould of rtiil 
sea. N. Y.. would swear that Wolf's 
eyes were the cause of his malady, and 
he vould class him with Swift and a 
hundred other eccentric authors, mail- 
men. geniuses of high and low degree. 
Til- re is no doubt that the insanity of 
Wolf did much for his fame, tt is a 
generous habit to overpraise the ability 
of the unfortunate. 

Mr. Newman musi be ranked anion-- 
the very first who have in all time writ- 
ten about music and musicians. His 
jf.iirnliigf Is indisputable but. he is not 
a pedagogue. His styio is clear and 
luminous; now picturesque now elo- 
quent: now incisive, epigrammatic; now 
rhythmical and a (leltght to the car as 
well as the eye. He escaped long ago 
es a descriptive writer from the influ- 
ence of .Macaulay and he does not ape 
Pater. His style is his own. In his 
Judgment he has a sense of historical 
perspective, or proportion. He is inva- 
riably interesting. 

In this life of Wolf lie iias used the 
material collected by Dr. Decsey and 
correspondence and articles published 
by others. He gives full credit to liis 
predecessors, and does this with the 
generosity of a full man, not giving 
thanks in a footnote. 

The salient features of Wolf’s life as 
man and musician are known to all 
who are interested in modern music, fori 
much has been written about him. Thus 
it is known to every one that he was - 
expelled unjustly from the Vienna Con- 
servatory; that he almost starved as a 
teacher; that he wrote highly original! 
reviews as a critic for a Viennese frothy i 
paper; that he afterward had devoted l 
friends; that a fund was raised for him 
to allow him to compose without dis- 
tracting thoughts; that he went mad. 
In speaking of Mr. Newman's admira- 
ble biography, it is not necessary to re- 
tell the story of Wolfs sad life. The 
biography is interesting also in this 
respect; it tells us much about Mr. 
Newman, his opinions on art. 

Yet there should be reference here to 
Mr. Newman’s estimate of Wolf, as a 
human being, an estimate founded 'on 
statements made openly or whispered by 
those who knew him. It would seem 
then that Wolfs occasional harshness, 
rudeness was merely part of his “funda- 
mental sincerity.” “Wherever art was 
concerned he went straight for the 
truth, in his opinions, as in his music.” 
He held sentimentality and any form 
if pose In horror, and he was savage 
n his expression of contempt. Natur- 
lly he made enemies; but no man had 
aore devoted friends of a high charac- 
.er. friends of various dispositions. 

‘What one hears in private,” says Mr. 
Newman, “of some of the details of his 
life, interesting as it is to the moral 
pathologist, is not yet a matter for the 
public ear. If further information is to 
Be given to the world at large it musi 

songs, for Mr. Newman is especially 

happy in his treatment of these 
| themes. 

Wolf wrote for the Salonblatt. which 
circulated chiefly among the fashion- 
able people, the “smart set" — to use a 
vile, a hideous phrase— and the 
climbers” of Vienna. “Wolfs strong 
and acid writing must have seemed 
among the generally ‘frivolous confec- 
tionary’ of the rest of the paper, rather 
like the irruption of a fanatical der- 
vish into a boudoir." He had decided 
tastes, he had no delicacy about ex- 
pressing them violently and he wrote 
uncommonly well, with enthusiasm for 
all that he thought pure and noble in 
art, and with invective and irony for 
that which seemed bad in his eyes 

Mr. Newman believes that the' last 
person to be capable of being a good 
critic is an original composer: “the 
verj strength of Ills own individuality 
Is apt to render him only moderated 
receptive of the contrasted art of otheV 
men"; and Mr. Newman cites Brahms 
missing the fragrance and color of 
Tschalkoweky’s music, and Tschai 
kowslcy not appreciating the meaning 
and structure of the music by Brahms 
He might have cited Weber’s articles 
about Beethoven; singular judgments 
handed down by Beethoven, Berlioz, 
Vagner or other composers Wolf' 
however, showed an admirable catlv 
olieity. He was right by instinct, the 
instinct of “a finely organized nature 
willing to enjoy keenly whatever could 
appeal to It as being beautiful." 

There was reason often for his 
acidity, invective, hate. “While ad- 
mitting that musical criticism Is of no 
value unless it sees all round a given 
case, and states not only Its disagree- 
ment, when agreement Is not pos- 
sible, but the reason for its disagree- 
ment, one cannot subscribe to the fur- 
ther theory, held by many worthy 
people, that the writing should never 
show any signs of internal warmth 
end that eVer.y word should be struck 
out that is likely to wound. So color- 

! ln of the duty "° f tlle critic 

can in the last resort only be held by 

men for whom the art-life consists 
merely In enjoying the better products 
and ignoring the worst, who are not 
keenly enough interested in progress 
to go out and light for it, and who do 
not realize that bad art cannot safely 
be ignored, for the simple reason that 
it debauches the public taste and so 
makes it harder f or better art to find 
eyes to look at It and ears to listen 
to it." The critic must suit "his 
strategy to the enemy and to the sit- 
uation." A man may he enthusiastic 
and yet logical. He may be ironical 
and yet discriminative. He may feel 
the auger of the righteous man and 
yet keep a cool head. 

Wolf roared against late comers and 
early goers; against noisy applause after 
exquisite or noble music. Jfc demanded 
small theatres for operas of the lighter 
class, small halls for chamber music. 
There were works by Brahms that 
pleased him ; songs, and some of the. 
chamber music, and he praised i hem 
warmly; bur the Brahms that others 
though great was only the epigone of 
Schumann and Mendelssohn. Schumann. 
Chopin. Berlioz. Liszt had all passed him 
' ’! ' 

by as a symphonist and left no trace on 
him. He was blind to Wagner. “Just 
as people at that time danced minuets, 
1. o.. wrote symphonies so Brahms 

also writes symphonies, regardless of 
what lias happened in the mean time. 
He is like a departed spirit that returns 
to its old house, totters up the rickety 
steps, turns the rusty key with much 
difficulty, and directs an absent-minded 
gaze on the cobwebs that are forming in 
the air and the Ivy that is forcing its 
way through the gloomy windows.” 

As a critic. Wolf admired Gluck. 
Beethoven, Haydn, Mozart, Weber, ‘ 
Marschner, Schubert. Schumann. He I 
did not care for any music that was dls- I 
tinctively national, but lie liked that of 
Smetana, Glinka, Tschatkowsky. He 
saw little in modern Italian opera; 
writers, and he abhorred especially, but. ; 

, for widely differing reasons, Boito’s : 

| “Mefistofole” and Ponehielli’s “La Glo- 
conda.’’ Of Ponohielli lie wrote that this 1 
Italian had no originality: “He has a 
! dozen physiognomies; his imagination 
i proceeds like a stubborn ass that after j 
! every second step goes back upon the ; 
first. ’La Gioconda’ in composed merely! 
for the singers, not for the public." , 
Wolf was fond of Berlioz and Bizet. 

The Symphony concert this week is j 
one of unusual interest. The symphony j 
will be Vincent d’lndy’s in B fiat major, j 
one of the few symphonies that are truly ! 
great in form, in expression, in Imaglna- ! 
five and lofty poetic contents. It lias not 
been played here since the composer led 
it. A movement. "Reves d’Enfant.” from 
Tscbaikowski’s second suite will be 
played for the first time at these con- 
certs. The suite itself is little known, 
although it was successful when, first 
played. The third suite overshadowed it. 
The other orchestral piece will be 
Smetana’s delightful overture to “The 
Sold Bride.” 

Miss Geraldine Farrar will sing for the 
first time at these concerts. Her airs 
are Lucette's girlish, naive song in 
Gretry's opera “Silvain” and an air. sung 
by the Prodigal Son, a tenor, in De- 
bussy’s cantata which won him the prix 
de Rome in 1884, a cantata that is more 
in the manner of Massenet. Gounod et al. 
than in that of the composer of ’’Pelleas 
and Melisande.” 

Concerts of the Week. 

SUNDAY — Ford Ball. Ashburton place, 8:13 
P. M. Operatic concert, vocal and Instru- 
mental. Miss Mieheliol, soprano Miss E. M’. 
Clark, contralto. Miss Rein, soprano, Mr. 
Risoldi, tenor. Mr. Gfudice-Fabrl, baritone, 
and an orchestra of 26 , led by Mr. Cericoln. 
MONDAY— Ste inert Ball 3:30 I>. M.. Charles 
Anthony’s plauo recital. Prelude and fugue. 
Glazounoff; sonata In F minor (first three 
movements), Brahms: nocturne in C minor. 
Chopin; "In Autumn,” Moszkowskl ; T.aend- 
ler. Jensen; "Clair de Dune,” Debussy; 
caprice, Reger; study In the form of a ivaltz 
Saint Sneus. 

TUESDAY — Checkering Hall. S:16. Piano re- 
ntal by George Copeland, Jr. Bach. Eng- 
lish suite No. 1 (three movements) : Chopin, 
etude, ballad No. 3 ; Schumann, etudes Sym- 
phonlquea; Debussy, De petit Berger. Da'nse 
Sacree, Danse Profaue, Reflets dans 1'eau 
Poissons d’or, et In lune descend sur le 
temple qut fut ; Albenlz, four Spanish dances. 

Steiuert Hall, 8 :1SJ P. M. Song recital by 
Frederick Hastings, baritone, assisted by Ar- 
thur Foote and Andre Benolst, pianists. 
"Dot Knabe wit deni Wunderborn" and 
“Waldesgespraech,” Schumann ; "Die Ehre ! 
Gottes," Beethoven: “Dcs IToertners Morgeu- 
llcd.” Berger; “Zuelgmmg” and "CaocIUo.” 
Strauss; "On the Way to Keiv," "Song of the 
Forge." “Requiem" and "Before Sunrise,” 
Foote; "Meet Me by Moonlight" and "The 
Pretty Creature.” old English: "Rose Deaves" 
and "A Theme.” Benolst ; "Young Dieterieh,” 
Hensohel : "Sing Me a Song." Homer: "The 
Nightingale,” Wh'dpey; “The Bony Fiddler." 
Hammond; "Bail, Bounteous May." Bran- 
scombe. Mr. Benolst will play piano pieces 
by Diszt and Schubort-Tunalg. 

WEDNESDAY — Symphony Hall, 8 P. M. Con- 
cert by the Apollo Club. Mr. Mbllenhauer, 
conductor, assisted by Mnie. Johanna Qadskl. 

The club will sing these pieces: "Trelawn- 

ey." Thayer: "Sunset.” Van de Water; "Dan 
Cupid." Relnekt : "Dulluby.” Gibson; "Blue 
Plum be,” J. Strauss; “Boehlnvar,” Hammond 
(Alfred Denghausen. baritone); "Reveries," 
Storch ; “Ave Marla,’’ Bach-Gounod (with 
Mine. Gailski) ; "The faist Chord.” Sullivan- 
Brewer. Mmc. Gadskl will sing “Dlch Theure 
nalle.’’ from "Taimhaenser"; "Phyllis.” 
Voting; "When the Roses Bloom,” Relchordt; 
"Impatience” and "The Trout," Schubert; 
“May Night” and "Message.” Brahms; 
■’/fuelgnung,” R. Strauss. An orchestra will 
assist and nlav an Intermezzo hv Andres. 



Tfi i kal Y *-Xt«’lnort Hull. H : 10 IV m no,,- 
reel tul hr Min* Mary It. Truer, soprnno 

t»y Ml* Knthortnc Hnlllilnv V^iiut 
: “Vo! Che Hnpeto.” Mozart;’ "Gotlne 

Malta, Nlnnn Nanna.” Brojfl ; “]„ g nc |]. ( 
Trine Morbid" ” from Pacelul's “Mnnon“ 

“I eli Lie be Dlch,” Grin#; ”Vfrjccbllch*a 
StJe’iidohen.” Brahma; # \Tnl Plcuro on Rove " 
Uu»*: “OuTre tea yenx bleoa," Mnawnct * 

“Ah! I/»re but a Dar,” Bench- “Tfo«. 
with the IMImto Air.” Artie;* "Tho* 

Ln«t Glimpse of lirln,” Moore; •‘The Danzn •• 
Chadwick. ’Cello pleeoi . “The Swan " 

„ Salnt-fWnn; “Scherzo." Von Goons- "C*nr. 
•latf," Fincher. 

FRIDAY — Symphony Hall. 2:30 I*. M. Fifth 
public rehearsal of the Boston Symphony or 
cheKtra, Mr. Fiedler conductor. Nempbony 
Vo. 2. B-flur major, d’lndy; I^cetfe'* nir 
from Gretry’s "Sllvnln" Geraldine 

Farrar;; "Reves d’ICtifnnt.” Ttcbnlkowaki 
Hirst time at these conecrta) ; Air of Aznel 
from "The Prodigal Son." Debut* sy (Mian 
Farrar); overture to “The Solo Bride" 

SATURDAY — The Fenway, 28, 3:30 P.M. John 
Beach'* piano recital. Two Fantasy pieces j 
from op. Ill Nos. 3, 2. and Novelette No. 2 
Schumann; Romanic op. ns, jfo. 5 Inter- 
mezzos op. 117. Nos. 1. 2. Rhapsodic 'op. 70 • 
No. 2, Iirahms; Mazurkas op. 41, No 2 op’ ' 
33. No. 3. op. 50. No. 2, op. 63, No.' 2* op! ! 
59, No. 3. Chopin. Barcarole, K flat’ G 1 
Fauro; etude, B major, Serin bine; Intermezzo 
and Balcony Lyric and Masques from "New ■ 
Orleans Miniatures,” John Bench ; "Cadiz ” I 

Symphony Hall, 8 P. M. Fifth concert of I 
the Boston Symphony orchestra. Program as 
on Friday afternoon. 

Miss Duncan's Return. 

Miss Isadora Duncan, In Symphony i 
Hall Thursday afternoon, will repeat 
the program of (lances In which she 
achieved her greatest triumph In this 
city last season; scenes from Gluck’s 
operas, "Ipliigenia in Aulis” and 
"Iphigenia in Taurls.” An orchestra 
of Symphony men, Gustav Strubu, 
conductor, will assist. Air. Aludgctt 
has arranged a second appearance foi 
Miss Duncan in Symphony Hall 
Wednesday evening, Nov, 17 . when 
her program will consist of 'illustra- 
tions of several classical poems w ytf! ' 
dances which have not been 
here. On both of these occasionsj'khe* 
win add to her announced program 
solo dances selected from her rlp$r- 
jtoii'o. Subscriptions for Miss Dun- 
'oan’s second appearance may now be 
mailed to Mr. Mudgeit. ■ 


First Pension Fund Concert. 

Tno first concert for the benefit of 
tlm pension fund of the Boston Sym- 1 
phony orchestra will be given in | 
Symphonv Hall, Sunday evening. Nov. j 
31. There will he two soioists and I 
the program will consist chiefly of 
selections by these artists. Mme. 
Samaroff lias volunteered to play a 
concerto and a group of solo pieces 
for piano and Mr. Willy Hess has also 
offered his services. The entire 
force of the orchestra will lie em- 
ployed and Mr. Fiedler will conduct. 
Full details of tills concert will soon 
be made public. 

Mme. Sembrich’s Recital, 

Mme. Marcella Se mb rich, who has re- 
turned to America afti • an eminently 
successful concert tour with operatic 
performances in Europe, will give a 
song recital In Symphony Hall Friday 
afternoon. Nov. 12. Frank La Forge 
will be the accompanist. The program 
, will be as follows; 

! Mein glaeublges H-rze « ach 

Quel Rnsf, u-uc 1‘aradles 1 

j 0l1 ' .-'pep- why dust thou leave me?.. 

. , , ,, Handel 1 

Baha.uj. Ui (from "Esther”) Handel \ 

Tinckne Blunien s.-iiubeii 

iKiftT.ueiri und Stolz Svhuben 

I Thraonen Schumann I 

I D?c S v eln ‘ ?? CSeIeln Schumann 

Der Sf’hmJert Rrahms 

D'Amo des Oiseaux .'.'Massenet 

I. Lvemait Massenet 

Allerseelcn ' * 

The Sheeph-rder Frank i..-i Forge 

A 11 elnen Boten Frank Da Forge 

Otivorz Janku (Polish Masur-k) 

Stanislas Nlewladameki 
Tli^re Sits a Bird on Kvcrv Tre 


Ft. Louis Republic states 

Naomi von Achen of that city Is “plan- j 
nlng an operatic career, which may be- 
gin with the Boston Opera company at J 
tile Olympic, early In January." She Is 
not 20, but “she luts been singing since 
■j she was a little child." Stic takes E flat | 
j in alt “with astonishing ease," and t 
sings in Italian Latin, German and I 
French "as weli' as she does in Eng- 1 
lish.” She also "sings many compos!- : 
tions of extraordinary iengrh.” 

Georg Henscliel lias been singing in 1 
England both In "The Damnation of! 
Faust” and in recitals. The Pall Mail 
Gazette said of his slnglrg in London. 1 
that it was “as ever, wholly attractive 
and convincing, and, moreover, com- ! 
pletely Individual in character, in which 
lies so much of the charm. One was 
especially struck with the way he sang I 
two extracts from the Ha-uielhtn op- I 
eras; so fresh did lie make them sound [ 
Jtliat speculation arose as to whether a ! 
complete performance of one of these I 
works for the stage would make any ; 
effect nowadays. But then, were such a 
thing attempted, it would be too mur. 
to hope for an entire cast endowed with i 
Mr. Henschel’s remarkable art.” 


1 K Oii » Ha. hi vj*' • — ' * — | • —w— — 

i novel >? Edmond do Goneourt and tlle p: C t uvefi _ statu 
with music by .Mario Vital! of u an(J (hc p ^ sll> 
I was produced with markid ct.sfl * 
at l'Ausula ’* Which novel of de Gon* J the careless, imp 

1 .IdrtiMM!? 

opera ’‘based 
de Goneourt 

a. ; 

own chiefly 
letters, died 
66th year. He I 
and then do- 

. AH- Kails. ter. kt 
tor of Beethoven's 
,,riy in Berlin in his 
i! at first studied philology, 

IB§nted himself to musical researv . 

IF An opportunitv to ’.earn to s ng ora- 
i fettles nuv be had by Joining "The | 
L in people's Choral Union of Boston, 
iilnc'' Inquire for F. W. Wodell 

mom 5. N'ew England Conservatory of j 

BMusic todav between rt nttd 4 oilocK. | 
Heinrich Gudehus. who was for some^ 
- ve i-s the hero tenor at t to Dresner. 

' Oner a Hou»e and with Winkelmann and | 

■ Jaeger sans Parsifal the first year at 
Bavreuth ilSS3>. Is dead. He sang at I 
the Metropolitan Opera House In ISSO-.l. | 
but he was then past his prime. In the 
early eighties his voice was strong 

clear, mat 

volo or 
While h 
»>e! cam 
and wa 

At the Pres- 

versatile and always j 
phether he were the Fra Din- 
ie Tannhaeuser of the evening, 
was by no means a master ot It 
hU singing was tar less ob- jl 
l'e than "that of his leading I 
-arles. Ho was born in 1843 || 
. ut first a school teacher I 
He first sang in 

and village organist, 
t opera In 1871. 

Jean Perier. an accomplished actor. | 
who gave a remarkable performance of | 

, Pelleas In New York, has left the Opera j 
I ‘ parts, and Joined the opera 

! company at the Galte. where he will 
tt« Part of Chllor. In "Quo 
j Vadls," by Nougues. 

I -r>. ■. ft>humann Museum at Zwickau 
: w-m be dedicated June 8, 1910, the IWh 
I acnlversarv of the composer s birth. 

-T I Ernst - cm S-Niuca will conduct tl.e com- 
j memorative music festival, 
i Tbe Menestrel states that Emm.' 

I Destine. the singer, has written a 
drama "Rachel." a story of the ghetto 
> imPrugue. which was performed recen.- 
, '■ v without success at the Czech Theatre 

■ la Prague and therefore a Berlin the- 
(4. atre which had accepted it, now re- 
fuse’s to produce it. 

.V Caruso and Lena Cavaleri are en- 
l C a».-d for an operatic season at the 
, Chatelet, Paris, next Mai Toscanuu 
i will conduct. 

Art' ir Priedheim, in Munich last 
Ytreek used the Clutsam keyboard at his 
piano recital. 

f Arna Welss-Busonl, a pianist and the 
her of Ferruccio Busoni .the dis- 
Ungulsbed pianist who once lived m 
Boston, died at Trieste Oct. 3. 


A Berlin newspaper mentioned recent - > 
ly that Balfc’s "Bohemian Girl’’ was 
produced at the Manhattan Opera House 
for the first time on any stage. 

Siegfried Wagner is Incorrigible. He. 
has written another opera, "Banadlet- 
rlc'.i." which will be produced at Carls- 
ruhe about Christmas 

F. E. Koch's oratorio. "The Deluge, 
will he performed for the first time at 
Co' e: ' Nov. 37. Old Babylonian hymns 
and prayers are Introduced in It. 

“Enoch .Arden," a new opera, based 
■ on Tennyson's poem, with music by 
Max Mevdert, aas produced at Essen, 
Oct. 7. The music is said to lie better 
than the text. This is not the first 
i operatic treatment of the poem. A one- 
; aet opera by Edward Sanchez de 
j Puentes, a Cuban, was produced In 
j Havana by an Italian company, with 
I Rosa Chalia at the head of it. some years 

| a *’°' 

First Week of .Boston 
Opera to Introduce 

Principal Artists 

vulgar test,- displayed on floor an 
the pictures, statuary, brle-a-brac, the* 
arc in harmony will'll 
impudent, good-natured. I 
attractive dancing girl. 1 1 ere is hti 
true home. The auctioneer has seen 
100 rooms like this. Hence Ins indiffer- 
ence too profound to be jauntily cyni- 
cal. Girls come and girls go Some mar- 
ry millionaires: sonic settle down in 
happiness with an adoring youngster 
and lead a decent life, showing a sui- 
prising capacity for household tasks; 
a great many of them die In the hospi- 
tal; hut the hired apartments have the 
same appearance, whether Rauette or 
Maude, or May is the tenant of a season. 
Elizabethan simplicity in stage setting 
would not do in this ease. 

The first week’s, repertory of the first 

lttS ICIl Viir ca i ■* — 

joined the opera I season of grand opera at the New bo..- 
ton Opera House will give an oppor- , 
utility to introduce all the principal j 
Italian and French artists of the com- 
pany. On Monday night, Nov. 8, for the 
inauguration. Ponchielli's masterpiece, 
"La Gloconda,” will be presented. -Mine. 
Lillian Nordlca will be La Gioconda, 
Mme. Louise Homer. Laura ; Mine. Anna 
Meitsehiek. La Cieca; Florenclo Con- 
stantino. Enzo : George Fiaklanoff, Bar- 
naba ; Jose Mardones, Alvise ; Attilio 
Pulcini. Zuane. and Constantino iStroesco, i 
Isepo. Curtain at 7 :45 P. M. 

Verdi's “Aida” will be given Wednes- 
dav night at 8. The cast will be as fol- 
lows : Celsstlna Boninsegna, Aida : J 

Maria Claessens. Amnerls ; Betty Free- 
man. the priestess', Enzo Leliva, Ra- ( 
dames ; Francis Archambauit, the king ; 
George Baklanoff. Amonasro ; Jose Mar- 
dones, ruimfis ; Ernesto Gtaccone, the 
I messenger. 

Thursday. Nov. 11, as an extra per- 
formance, Delibes' opera, "Lakme.' will 
I be given, which will mark the American I 
debut of the Russian coloratura so- 
prano. Miss Lydia Lipkowska. Others 

oaten, died at ~ - — wi n' be Betty Freeman. Mai- 

l^TesSC'posftZ - teacher at ilka; Evelyn Parnell. Ellen ; Vh'gini a 

vn- Paris Conservatory. 

Patti bade a tearful farewell 
tA t hf. concert stage some time ago. 
nevertheless, she will celebrate In Lon- 
1 , don Nov. 21 the 50th anniversary of her 
1 artistic career. This means tier operate 
I -ar»«r She appeared as Lucia in New 
'I York NOV. 24 1859. but she. sang in oon- 
' 1 cert before that. Her first appearance 

niio., - . Ellen; 

Pierce. Ilosa; Mabel Stanaway, Bent- 
son; Paul Bourrillon. Geraldo; Rodolfo 
Fornarl, Frederick; Jules Nivette. Nila- 
kanta; Constantino Stroesco, Hagi. 

Miss Alice Nielsc-n will make her 
debut on Friday night in Puccini's "La 
Boheme.” Others in the cast will be 
Mathilda Lewicka, Musetta: Florencio 

Constantino. Rodolfo; Raymond Bou- 
logne Marcello; Jose Mardones, Col- 

The parlor contradicts Paulette’s pro- 
testations to her honest lover, but she 
Is not the less agreeable, cajoling, de- 
sirable. She is not a vicious creature; 
she is a child in certain ways, much in 
need of a hired mother who plays vilely 
the piano. There are books on the table, 
but it is doubtful whether Paulette dims 
her eyes by reading. Ten to one there 
arc stains made by wet glasses on the 
largest, most expensive volume. I 

No one should cry out against this 
scene, which is both realistic and sym- 
bolical. As played by Miss Barrlson 
with fine art. Paulette is not a mere 
baggage. She has no illusions about life. 
The men she has known have been 
frank with her. They have revealed 
their weaknesses and she has been gen- 
erous in not betraying them. When she 
is alone, she laughs at them all— at all, 
except the young dramatist, the one per- 
son she respects and loves— for is she 
not to have an important part in his 
play? To know Paulette well, to be on 
terms of companionship with her. would 
be a liberal education. In certain re- 
seeds she would be an excellent confi- 
dep.tiril friend and adviser in a seminaty 
for young ladles. Nor would she be an 
undesirable playmate for a healthy- 1 
minded, normal youth, especially if he 
should wish to know the world other- 
wise than from books and prematurely 
wise young men of his own age. Mr. 
Arthur Symons wrote several years ago; 
"To roam in the sun and air with vaga- 
bonds, to haunt the strange corners of 
cities, to know all the useless, and im- 
proper, and amusing people who are 
alone very much worth knowing, to live, , 
as well as to observe life 1 • 

such things as these that make for , 
poetry"; nor is it paradoxical to add 
that they make for the highest moi al- 
5 tv Paulette is not useless, for her 
dancing is an art; she is not improper 
in the evil meaning of the word; that 
she is amusing is indisputable, although 
prigs may cry out and ask for an ounce 
of civet. 

After seeing Prosper® < lnJ Gonzalo 
travestied by players of the Ben Greet 
company, after seeing the pitiable 
clowning of Caliban, Stepliano and Trin. 
culo in Symphony Hall last Tuesday 
. night, a lover of the theatre might 
easily be excused for quoting the re- 
marks of Hazlltt, written in 1815, after 
a performance of the same comedy; 
"As we returned some evenings ago 
from seeing 'The Tempest' at Covent • 
Garden we almost came to the resolu- 
tion of never going to another repre- 
sentation of a play of Shakespeare s as 
Ion" as we lived; and we certainly did 
come to this determination, that wc 
never would go by choice. 

' It. was in this article that Hazlitt gave 
his admirable analysts of a “respecta- 
ble" actor. “A respectable actor, then, 

Is one who seldom gratifies, and who 
seldom offends us: who never disap- 

I point.’ us because we do not expect 
anvthing from him, and who takes care 
n. vei to rouse our dormant admiration 
by any unlooked-for strokes of excel- 
lence. In short, an actor of this class 
(not to speak it profanely) is a mere ma- 
chine who walks and speaks his part; 
who, 'having a tolerable voice, face and 
figure reposes entirely and with a pre- 
possessing self-complacency on these 
natural advantages; who never risks a 
failure, because he never makes an ef- 
fort' who keeps on the safe side of cus- 
tom’ and decorum, without attempting 
improper liberties with his art; and who 
has not genius or spirit enough to do 
either well or ill-'" .. . 

Hazlitt was referring to Charles | 
Mavne Young, of whose Prospero he | 
said' “It was grave without solemnity, j 
stately without dignity, pompous with-; 
out being impressive, and totally desti- i 
tute of the wild, mysterious preter- 
natural character of the original. Yet 
Young was a highly "respectable amor 
In his day and generation. What would 
Hazlitt have said if he could have seen 
the Prospero of last week? 

befo-c that. Her first appearance j e Marcello; Jose Mardones, Col- 
in” Boston was in Music Hall with Ole ^ ' AuiUo Pulc | ni , Schaunard; Luigi 
Bull O'-*. 4 1853. She was tnen 1 • 5e ‘ 4 ;'H xavecehla Alclndoro and Benoit; Fred- 
A p. Her first appearance In Boston in Hu(1(Jy Un Do ganiero. and Con- 

epera wi-s In "Lucia" w-ith Brl S" 0 ' a " J Et antino Stroesco. Parplgnol. 

"The Tempest" is seldom played in 
this country or in England. There 
was a performance at the Boston 
Theatre Dec. 34, 1835, when John Gil- 
bert took the part of Caliban and 
Mrs John Wood that of Ariel. George 
Riddle played Caliban in the drunken 
scene, with Dan Maguinnis as Ste- and S. E. Springer as Tnnculo 
at a benefit performance for the late 
H A McGlenen at the Boston Thea- 
tre, June 13, 1881. An arrangement of 
tlifi nlav in four acts was produced by 
Augustin Daly at the Hollis Street 

Theatre May 10, 1887, when music by 
Arne. Purcell and Taubevt was pci - 
f irmed. The cast included: Prospero, 
George Clarke; Gonzalo, Edwin \ a i- 
rev; Sebastian, John Craig; l'crd^- 
I ; nand, Charles Richman: Caliban, 

4^^^ I i Tvrone Power; Miranda, Ada Behan, , 

on the stage according to the pseudo- ‘ Has „'ell. Among the. I 

Let Paulette's room be represented 

Elizabethan theory, in which Mr. 
Greet’s followers so fondly believe, and 
even Miss Barrison's performance would 
not be so effective. It might be argued 
In the case of "The Tempest ’ that the 

Ariel. rcu-j * ,, 

“chief spirits attending on Prospeio 
j was no less distinguished a person 
than Isadora Duncan. 

In New York "The Tempest" was per- 

• _ . - YD i i rt An tOnlv 

Jan. 3. I860. During that e»-| 
• she also was heard as Amina. 
Roslna and Elvira. The late 
Dwight then asked: ''ill t.w 

'i TtV concert given at a French water- 
'ilng Place only British music, with a 
1 AigD exception, was performed^ El- 
‘ -pomp and Circumstance ap- 

( peared appropriately on the program 
and Circumstance." 

BBLri Goldmark Is writing his reool- 

mai ;a (Ga.) Musical Festival 
ir.r. ia- raised tlie *50.000 g iar- 
,r .. neck's vlflt Of the Metro- 
opera company, beginning May 
guarantee was relscd In three 

Works New and Old. 

le.i G. No top. whose "Kaleldo- 
attraeted attention at a Sym- 
coneert here last season, has 
^d an or' hcsiral Serenade In 
« will pc produt «d a.t 

np allied. 

iy Felix 
.'liomnltz ! 

Ci 1C JV Iiuuuj ( 

stantlno Stroesco, Parplgnol. 

"Lakme’’ will be repeated at the Sat- 
urday matinee In the regular subscrip- 
tion perrformance with the same cast 
that will be heard on Thursday night. I 
Music lovers are interested in tlie 
debutante, evenings which Director 
Henry Russell promised. The first 
will take place Saturday night, Nov. 
]3. These performances will be given 
at popular prices. Full orchestra, 
full chorus, complete ballet and the 
same production will be presented 
and many of the principal artists will, 
appear. 1 

The difference between these per- ] 
formances and the regular subscrip- 
tion performances will be that some 
of the principal roles will be sung 
bv artists who had hitherto no op- 
portunity to appear on the grand opera 
stage The opera chosen for the first 
of these evenings is Verdi’s “Alda. 

I and the debutan'e- will be: Miss Eve- 
lyn Parnell, who will take the PaPl 
' of Alda- Miss Mabel Stanaway will 
sing Amnerls and Constantino Stro- 
esco will take the part of the messem 

! ^ a grand concert with the full grand 

opera orchestra will be given Sunday 
night. The soloists and the program 
will be announced later. 


tn ..ace of -The Tempest tnai uie , j n New vori< rue \TY 

most gorgeous scenery would be made- f orm ed as early as ,1773. Burtpn took 
mmte^ that it could not rival the beau- the par t of Caliban m 1853 and »> 18M- 
ties and the wonders of the isle as de- TIlere was a remarkable Production In 
ties aim ii it- ai«n th s men XT t. DrLv<MTDort. played Fros- 

s'eribed by the poet. There is also this 
dpnger in a “sumptuous revival • of The 
Tempest" with lavish electrical lighting 
and marvellous mechanical effects: the 
play becomes a spectacular extrava- 
ganza with Caliban as clown. 

After all. there is little use ir. being 
cock-sure as to the manner in which 
the stage in Shakespeare's period was 
set. There is a significant remaik by 

: rhapsody, 

Anrooy ; 

Character of the Furnishings 
in Harmony with the Care- 
less, Good-Natured and At- 
tractive Dancing Girl. 

r. PHILIP hale. 

The furnishing of Paulette's parlor in 
"The Blue Moio-e" is un example of ex- 
planatory. ilium natlDe scenery and set- j 
ting. The, . ter of the chairs, sofas, 
i n r , l . 1 f, ; e tuv.'drv ornamentation, Dv) 

Decker, who was familiar with . the 
theatre: "By sitting on the stage you 

have a signed patent to stand at the 
helm to steer the. passage of the s «; nea ' 

It is not wholly proved, m spite of 
learned men and commentators, a.s 
f Gorges F.ekhoud points out, that there 
were then no theatre machines, no mov- 
able scenery. We know that In Li B 
miracles in the 15th century there were 
nroporties and machinery, and the lisia 
Of properties show that great pams were 
t ,ken to set forth realistically the splen. 
dor and the terror of various scenes: 
and there were stage imitations ot 
miraculous events. It Is perhaps too 
much to say that in Shakespeare s time 
there was no movable scenery of anj 
sort whatever. There were certainly 
towers, tombs, dragons, patstboard ban. 
ouets furniture, trapdoors, gods and 
-nddessoH let down from heaven ami 
pulled hack. We do know that the 
wardrobes were "rich, varied and 


The recent performance of scenes 
from "The Tempest” again provokes 
inquiri Into the character of the oom- 
edv. An Ingenious commentator has de- 
clared in all sincerity that In tills p'ay 
Shakespeare himself disguised a.s Pros- 
pero announces himself as a second 
Messiah: that the 15 years that have 
elapsed since Prospero left Naples stand 
j f 0! . ti lf . 15 centuries that had m 
1 .Shakespeare’s period passed since the 
,| time of (he Saviour. Hunt, earns from 
il cucumbers! Is tfiere symbolism in "The 
Tempest”? What is there to say about 
Caliban? Only this is sure: the play 
wa- Shakespeare's final word Is t. 
therefore, autobiographical? Why In 
the opening scenes did the dramatist^ 
who delight-d in action, put explapX/ 
tlons concerning himself, Mir^g> /( 

HI* method 

1869, when E. L. Davenport played Pros- 
■ pero Frank Mayo, Ferdmarjd; W. Dat- 
I id ge, Caliban, and F. C. Bangs Alonzo 
' Charles Wheatleigh played Caliban In a 
production of the play the next year at 
the same theatre, the Grand °P^ ia 
House, and Lisa Weber of burlesque 
fame was the Ariel. W lien Daly hi ought? 
out the play at his theatre in 1897 Nancy 
McIntosh was the Miranda, and Mis. 
Rehan plaved the part at a special mat- 
h ce for cliarlty. George RIM e gara 
two acts at the Lyceum, f eh. 8. 1889, as 
sisted bv Grace Henderson, Henry M - 
I ler and J. O. Barrows. It is said that 
before 1850 the play as produced In this 
country was usually the version of Dat- 
anant and Dryden. 

The Herald described a fortnight ago 
the change made in Henry Bernstein sj 
••Israel" so that the drama might have at 
happy ending to please Americans. It 
will be remembered that tn the o.i„ma , 
and powerful version Thibault, the fa- 
natical Jew halter, kills himself when he, 
discovers that his real father is a Jew 
and the man whom he lias grossly in- 
sulted. This was the logical. IimVltable 

conclusion, and in the play Thlbau t 
argues his case. In the version now 
nUvlng m New York. Thibault is saved! 
from suicide by the devotion of a young, 
woman.' Charles Frohman now states , 
that the change was made at. Ins sugges- 
( on by the author, and he believes firmly , 

! that the play is Improved "It becomes , 
la living Issue" This is a beautiful 
nhrase but what does It mean. Thi. | 

1 , h mg chiefly to be regretted Is that Mr 

Rpmstein was persuaded to spoil tnt 
argument of his drama and cheapen the, 
force of H for American dollars. 

Norman McK innel, speaking of the 
labor in preparing the production °f , 
Rudolf Besier's new play, Don, said 
that ft production is the most 
In if part of theatrical work. In a 
inodvrn play the object is to get M near 
10 reul life as you can, while holding 
the illusion. You cannot be absolutely 
re-d In the tiieatre; you must have ill«- 
slon. You always have to remember, 
for example that or. the stage there Is 
no fourih wall ; you only have three 
sitlr-s to a room, and if the c&aractexs 
upon !he stage were to do eweifly M 
P„ncerr »ng himseir. Mirra; they do in a room .it J* our .°^ a ‘ roo V ; | 

Callhcn into Prospero'* rr sgj because no one see* ■ j , 

cthoit of exposition was s <W from the same point of vh « 

•Jpluyttii fa 
■ I tin' rptiKi 

iMX ■’ 




the same time, It is posslBW ttf so staire 
manage a performance that the audi- 
ence forget that there Is no fourth wall. 

I saw a well known actor In one play 
point to this fourth wall. This was an 
error. It Is a fatal mistake for an 
actor to take the audience Into hts con- 
fidence. He should convey the Impres- 
sion that he is totally unaware or the 
presence of the audience.. This Is the 
great difference between the art of the 
actor and that of the music, hall per- 
former. The latter plays to the audi- 
ence all the time. I have seen a well 
known music hall artiste fail absolutely 
on the legitimate stage for this very 
reason, and I have known many actors 
fall bn the music halls for the opposite 
and other reasons. The most impor- 
tant thing of all, perhaps, is the sense 
of time— when to speak, how quickly to 
speak, when to pause and how long i o 
pause. The producer must kn$w, too, , 
how quickly a man should cross the 
room, how quickly, if he goes out. he 1 
should shut the door; and always lie ( 
has to arrive at just what the author '■ 

I means.” I 

William Archer has been lecturing j 
in England, urging the public support! 
of a national theatre, arguing in ' 
favor of every large provincial town! 
having its own stock company in its 
own theatre. "There ought not to 
bo a town in England of more than 
say, 160,000 inhabitants, without Its 
[perman ent theatre and company a^ 

centre of local interest and local 

The Pall Mall Gazette, publishing a 
report that Sir Herbert Tree would 
play Sir Peter Teazle In America to 
the Lady Teazle of Miss Grace George, 
adds. This is the clever actress who 
appeared in I,ondon a 9 Oyprlennc in 
•in English version of Dlvorrons. at 
Duke of York’s Theatre In June, 

100,. She proved herself in that per. 
formance to be a^comodienne with a 
personality, a temperament, and a 
fine command of the technique of her 
art; and many who then saw her 
have regretted that she has not vls- 
it CM London since. Tf the rumor above 
refcjred to Is borne out, she should 
be . .-most interesting Lady Teazle” 

Miss ^eorge will be seen here in 
The School for Scandal," bul nothing 

■reee b K ei .' Sa ! d as yet abo 'R Becrbohm 
J ree being her Sir Peter. 

a rbey ,. takfi th e theatre seriously in 

fng a ra oe a e> The Australa sian. revfew? 

‘ n i a Performance of "Othello,” with 
r I, r _ a \ ie a s the Moor and Miss I . ‘ 

th ' ™ ly on , as De sdemona, said in ) : trurnent ba « decided limitations, and 

good third of an art,cle that took a II ’°hP Wln .? ed eon certo it becomes 

good third of a page; "In the death I ^j^ablc. , Mr - Strube, realizing the 

ifuie, Pm 

reason that the symphony mu! 
n,v r 'oW-Poeni were admirably read 
• , I 'edler and played with even 

he*'! " an ° ldlnilrv br " I la tie,. i, v th , .. 

chest,-;,. Cherubini’s overture s not 
functor; w ,° k TWnn aCMl ' mk ’- P^r- 

l.i.,.. . , .* . •' M'ung composer to- 

J lay taking Spanish subject, would not 
content with the simple orchcs t of 
'ke old Pa, -miaoued ’'lorentu- no, 

I from** at ™ T ‘^frX 

ianel's"’ “T- “'^PProprLte c" s! • 

anetS; I et in CherDblnl’s overtui-.- 

I i 

: ! 

- r. ] tedlei s reading: of the sivm- i 
Rhony was poetic in f,,n ‘ * i 

w i r t u „ . M LU • »n full sympathy 
with the characteristic rhythms nielo- i 


lnsu-um fi nutlon mP !t in ° f Sflulma "nV 

muddy, at times dry; but 1 the ' 
" a " o feeling, the charming fancy 
the inspired thought i n Uli , " py ’ 

I st rumentel S garrrm n t a * t o *b e° f o r go tt e n" < 

the an of n be f utif «> things in 
for thi f 1 S u ' orld - Were it not 
ta ion th'is C ari 8 ' rU ° US pasSa So in imi- 
TheV V adagl ° wou )tl be flawless . 

1 he performance of “Till Eulensnieo-el” 
was an extraordinary one, by virtue of 
s stihT ‘"if * recklessne s.s and its i, -ro- 
de, heratelfc When a composer is 
Jv coarse and makes a point 
b J b arpstie coarseness, Mr. Fiedler 

pofish" 0 He th PPl} ' sa,,d -P a Pbr and 
L- Tin v ‘ be com Pbser iiave his 
say. Till himself was not a refined 

and S °Mr ‘pt 5a, Ct ’ !le was Rabelaisian. 

As foJ ;„i Pr a PP r eciated the fact. 

° - e m,,slc ’. this rondo is one of 
etrauss greatest works, audaciously 
planned. s\ cerbly carried out. The per- 

c relationship. 

name , ip 

-’ranis of singer 
nous of Song” Is heard, 
pari this composer L 
.Seliunmiiii-I felnk 

as a fortunate one 

VCI uiy car 

formance ?yas that of accomplished I co 1 noert . * ,a ^" ot ’ the c 
iTtuosos drilled into perfect ensemble I w 10 vlslt our concert 
nred with enthusiasm for the music that * equals her in diffferenti 
was before them. 

Mr. Strube led the performance of 
O d P ? nC , e , rt °, Wlth bis accustomed and 
quietly displayed skill. He Is a fortu- 
nate man, for he writes music that is 
worm nearing, and he has the Boston 
Symphony orchestra for the perform- 

aro e <lre ' ;S eII ° concer tos, as a rule, 
are dreary things, interesting only to 
the cellist who plays them. The 

scene whieu 1 me death 

slight h ,s . rn I ade m °re awful bv 

the text and de P ar R"’C from 

ine text and tradition, one heard ex- 
clamations of horror alternatin'- with 

from Je a C n IOnS „° f plty ^'- Desdemona 
from an audience whose tense s tm 
ness was thus occasionally brol A hv 
o Th** t UP( ' 0bsp ‘ p us acknowledgment 

of the tragedy of the scene.” 

Miss Marie George, highly pleased be. 
cause for the eighth year she has been 
invited to play In the Christmas panto- 

r„'aVl!r r Lane ’ said confidentially 
a London reporter: “I am one nf h/L 
few American actresses. I suppose who 

John°E ln n e d 40 Satisfy in England.” 

t Loids has been talki ’"g in 

• Louis. The point lace and dia- 


limitations of the instrument. has\vrit- 

Ind , a »-° Uly f ,° r Hs s ' n S'*ng quality, 
ani ha.s spared us the customary and 
unendurable pages of mere note? that 
serve only to display the technical pro- 
ficiency of the ’cellist. This concerto 
In one movement is charmingand short 
it Is commendably short, vet It com 
tains much matter, and its sections are 
well contrasted. 

wlm!L, th ra rnC ' S , have true character, 

The ore, / V , be tande ’’ or P b iuant. 

e orchestral accompaniment, while 
it never is envious of the solo part is 
lift a// 8 ' 5 oaok S r °und : it is full of 

is fresh in° lnstrum<? ntaiion 

and thil combinations of timbres, 
a? wefl a t re n many orcbes t>-aI effects, 

„ V, as darin S harmonic inven- 
tions. that give delight at the time 


| Momlclssolui's 
1 uovv mi the pro 

|, Monnii, "On f’| 

| hut for the most 
j neglected. tin, 

I choice of the hvt 

and she made them elTeelive by |;er self 

restpai,, . bv rpfuM , t0 

exultant T' ,ta " ty " ,rks - 'f h i-s not 
mi sie ti ’ ",‘. ,u:h ot Mendelssohn’s 

music. These particular songs have true 

pre!5d ent W '‘ en thCy a,< ' rl ' l,,iy ‘fiter- 

,PlMU ' H interpretation 
hie Whccm tjrclclien a, the Spinn- 
ui- Wheel was a compelling one It 
was passionate, but not explosive- it 
was dramatic, hut not theatrical The, 
climax was finely developed, and the ! 
remembrance of the past rapluro and 
the agony of the present loneliness were 
eloquently expressed. 

rrilnl ee » mS \° ,hat Schumann- ' 

Hemk erred seriously In taking the an- 
swer of Death to the Malden In the 
song that followed at so slow a pace 
The tonal quality that she used was Im- 
pressive. but the rhythm that should 
>e as inexorable in its precision as the 
technique of Death itself was destroyed 
nor was there the chilling monotony of 
Deaths measured speech. The singer 
Tan find no warrant in the song for thus 
1 dragging tile tempo. Schubert’s Indica- 
tion is '-at moderate speed." and he took 
|Carc to give the half note only the! 
[value ot a quarter note. The “Doppel- I 
gaenger admits of freer treatment and , 
Mine. Sehumann-Heink was here trulv 
dramatie, yet it is a man’s song 

Sim was eminently successful with 
the songs by Brahms— especially so 
(with the Sapphic Ode”— and with 
those of Strauss. “Trauni dureh die 
Daemmerung" l 1H s often been sun- 
here hut never surely with such rich 
beauty of tone and with such exquisite 
appreciation of the mood of poel and 

There are very few opera singers or 
strictly liede.r singers who are now 
Mine. Schumann-Heink’s rivals on the 
j *tage. Of the operatic singers 

halls, no one 
— .... tiation of senti- 
j ments. Her noble voice is used dis- 
j creetly. Her vocal art is on a far high- 
er plane, than when she first provoked 
| applause here by tearing passion to 
I tatters. On the concert stage she is al- 
ways dignified, without prima donna 
airs, graces and coquettish affectations 
She IS a great artist; she is also a 
woman who has known the joys and 
sorrows of life and charges her inter- 
pretation of songs with the spirit of 
this knowledge. 

Mrs. Hoffmann gave valuable assist- 
ance. The audience was always cordial, 
often enthusiastic; and there was at 
times the hush after a song that Is -i 
greater tribute than vulgar clapping 
Of hands, or even the Chatauqua and 
microbie salute. 

I thus used flgiirativplv)'-* „ 

|| feeted with beetle fever 
( "ve; or a beetle IIUBl,. ||,erofin-^T>~^ 
| or heightened color on , |,o ,.i, ''"f™ 

1 impersonation or Camille mlvht i X " 

I he called hectic. * nt J ,ls 'ly 

1 The Parisians like to Jent In tlm f J 
jof dean,. When the cholera raqr-,,"," 
Paris a half-century or more ago u,e 
comic papers and the min ' *. 

Vied Wit!) each other in irli-istlv 
tlm expense of the aw fid vldtor i.- “ 
eutlons and deeds of Anarr-M 8 ,s 
seem ,0 the Parish,,, Irresistibly ° 
Mr. Antoine oroduce<l a ,i m . „ 

at the Odoor, a singular "I,,! i' 1 "’ 

entitled "The King Bores Himself." "it 
Introduces a travelling monarch who 

Stopping a I a hotel, fop| s |„ ne | y ' 

" Is out his chamberlain to' Hn ( i 
woman who would like (n sun with I 
ally. While the King is in his dressing 
room, making himself beautiful, an An 
arclm, enters the parlor and putea 
bomb under a chair. It,, tries t„ mm 
the fuse, but iliere are no matches at 
hand. After all. this is nol a s-rlous 
matter, for the bomb is warranted m 
be of reversible action, and if any o n ,- 
kicks it there will be a n explosion The 
young lady, Ml.-s Florette, arrives an 
amiable person, but when the Kln’c Is 
tb her. She takes hc-r hat and 
jacket and wishes to leave. As she Is 
going, lie discovers the bomb an] L, 
her horror he nicks it up and examines 
It as one well versed in the eonsliiu 
of these toys, lie admires the work- i 
manship, points out that It is reversible ! 
and then says: "if you do not st ’ , 

here with me. I'll let the thing explode 
I feel bored.” Wild with terror she - 
promises everything, and the King pours i 
water over the bomb. 

monds nf arf V . P ni Iace and » ' umi - ,ve delight at the lime 

ssuHKF s,rr: jwmS 

Ftainment.” 6 Mr a PPlause'! !,< ‘ Ut ' and - ]on 


ce,t he s™°r m ° f - th ’ e pcnsion fund eon- 

Viu DO as follows; Overture ”j n flip 
Spring, ” Goldmark; Mendelsohn’s vio 
lm concerto ,Mr Willy Hess)" Schu-' 
Olga. Sama.- 
thc Magic 
of the Val- 

, vate ’ at 

exO»em te a c a tor men V’ Mr ’ Dodso ' n 
excellent actor and a man of intelli 

ru e £msh? S !t P ° SSibIe that be sp t- k e this 

AndOw e Me,t- n ,ls ^ 3t0ry bf the late 
Andrew Melville, who had a peculiar 

. k: l 0T 'Tealizing the posters ” After, ^ ■. vl]JiJ J1( 

Wan!wi PUt T out bl advance for ”T!ie Vofo" a "Ow- '' on( ' erl ° (Mine. 
Wandering Jew,” whereon a young man f,v ’ a " d M-otan’s Farewell 
was represented as dying und-r a ta - 7'" ' and Hide' r 

ins star actor came to him greath dis' ' - fro,n “The Valkyrie 
tressed and complained that the poeter 
had nothing to do with the piece -Oh 

tli€ table — or he ]•» ; c - „ . 

Anti that Wandering Jew had to Jie^in 
hi s youth, under the table as directed !” j 


The program of the fourth conce, i 
of the Boston Symphony orchestra in 
S> m phony Hall, Mr. Fiedler conduct- 
f or, was as follows: 

■ ^Ky t0 x7§r Abe °— ««*” -Cfmbini 

i In mill,,,- for ’ceiio' and oVcb. -'-™^'' 

( "Th- liulcuVplegcl’s Merry" Pranks’’: '..''.Stress 
i lie impressions of the concert noted 
here were derived from the performance 
on L- riday atternoon. 

l lie concert was one of unusual Tier 
I "St not only because Mr. Strobe's con- 
mi o, with Mr. Warnke, ’cellist, was 

Mme, Sehumann-Heink gave a song 
recital yesterday afternoon in Symphony 
Hall. Mrs. Katherine Hoffmann was the 
accompanist The program was as fol- 

■'Das ei-ste Veilchen.” "ttruss," • Venetian- 
jsches Gomlellied,’’ “Itallcu,” “Fruehiin'»s- 
he; 1 Mcridi-lssohu; "Gren-lj.-ii am Spiniirad"’’ 
••nmn U | IU l,as M a, ‘dctten." "Kastloae hlobe." 
Doppplgaeuger Sdiuhert: "Keldeinsaiukeit " 
happbisehe Ode." "Von ewige Li eb c" 
"Berait li . u „ r :’ h die Daemmerung:” I 
1 bf, T 11 - btrnuss; • U mgenlied." stein; --\h 
lo\c hut a du.v.” Mrs. Beach- “liish • 

Song. Miss Lang: "Children’s Prayer," Iteger- I 
"Dnnza." Chadwick. ye ’ ne S tr -| 

This concert gave much pleasure to a 
large audience, and although nearly all 
o- ] be s ® n »s were of an intimate nature 
an " a 011 ‘ v ,wo or three could be 
called dramatic, Mme. Sehumann-Heink 
without, forcing her voice and without 
the aid of gesture and undue facial ex- 
pression, which to some operatic singers 
seem indispensable lo success in con- 
cert. conquered space and brought tile 


An earnest student of the drama said 
recently that the great majority of 
Spanish dancers who have "cachuchaed” 
and "Boleroed” and "fandangoed" and 
clapped castanets and cried "Ole" in our 
city have come from South Boston, 
which accounts for the Andalusian grace 
of their movements and the purity of 
their accent, but there is no doubt about 
the nationality of the Princess Rajah. 
Did she not say to a reporter in Wash- 
ington, D. C. : "You cannot understand, 
you Americans, how the call of the cen- 
turies echoes in the hearts of us of 
Egypt. How the music of our country 
brings up visions of the slow’, turbid 
Kile, and the tall pyramids will send 
pulsing through our veins all the old 
alluring powers of the time of Cleo- 
patra. Ah. no; you cannot understand. ’• 
O Isis and Osiris, not to mention Apis 
and the dog-headed Anubis and thous- 
ands of sacred crocodiles and eats! This 
is indeed the real thing. No wonder 
that the Princess Rajah has "a strange, 
faraway smile" in her eyes, a “strange, 
alluring personality that seems to have 
come dow'n from the days of Cleopatra." 
No W'onder that she wears almost 15 
pounds of jewels and can hold a heavy 
chair with her teeth while she dances 
now wdth languorous steps and now with 
unrestrained passion. Perhaps she is 
Cleopatra reincarnated. Who knows? 
Mrs. Besant asserts that she was once 
Hypatia, once Giordano Bruno, but she 
did not insist that she was ever the ser. 
pent of old Nilus. 

The Morning Telegraph, moved by “a 
decent regard for the amenities of the 
English language and a desire to pro- 
tect the litterateurs attached to various 
! theatrical offices from their own rash- 
ness," remarks that the word “hectic'’ 
jis not a synonym for “red,” “exotic” 
or "passionate,” but simply signifies 

j Now “hectib,” the adjective, in an 
etymological sense meant habitual, con- 
stitutional. but that was in the 17, h 
"entury; it never meant "continuous.” 
The Telegraph is right in its condemna- 
tion of the abuse of the word, which 
now means only “belonging to or symp- 
tomatic of the bodily condition or 
J habit’’— and is thus applied to the kind 
of fever that accompanies eonsump- 
| tlon or other wasting diseases— belong- 
ing to or symptomatic of this fever, 
consumptive, wasting, consuming. The 
I noun means a hectic fever (and it is ! 

A girl was brought into a New York 
court for truancy. ■ She was 14 years old. 
Six feet in height, she weighed 190 
pounds. She played hookey, not be- 
cause she was unwilling t„ sU) dv not 
because she was vicious. She said lo 
the judge: “I’m too big. When I Lo 

school the little children make fun of 
me. I can’t do nothing. I’m afraid in 
hit them, I might smash ’em.” We ro- 
gret to say that the magistrate fined her 
a dollar and said that if she should come 
blm a Saln he would fine her J50 
Children are cruel animals. Any one 
l at srb P o1 who is lame, deformed, near- 
sighted, suffering from any physical in- 
| futility, is at once a butt. School life 
for the afflicted is a constant torture' 
and the unfortunate are often cmbiD 
tered for the years to come. In this in- 
stance the children argued that no girl 
14 years, old had any business to be of 
Miss Calabaro’s proportions; there was 
something wrong about her; she was no, 
as they were; therefore she was to be 
mocked and abused, even though she 
were of a pleasant disposition and ; 


~ " -oston | 

subject- St 5 de "V Nati °na!ity is also Francis 
ndicu,e in schools. alk. Ct; 
“D , tcL? e rs an pare nts is known 
a “Da g0 .” ; “ ,rl ° f Ita,lan pa,ents •wSJSTt 
Miss Calabaro should go to Mr Ham- fron: 

I trrf 1 He , cbooses y oung women * ’ 

Ooera W"! U9hers in tbe Philadelphia *’ 
build ^ women of Amazonian 

n . _ A fortnight ago JOO of "queenlv 
and sta te? 5 ~V Ut fi l, eens are always tall 
themselvi* °” a 0,1 tne sinse— Presented 
themselves, and the tallest was 5 feet 

' '" ches : Calabaro should be the 

me, thf e h" , NOt ° nIy R0,lld sbp 'ook 
™ B ‘ the bea -ds of the crowd, but she 

a "philadclnM d,sturbance or persuade 
I haf , be P i a “' hot wlth PePPer-pot. j 
mat the performance to which he was 

™er 1 "hin°- iSh ra° b3ect1ons was thp finest! 

^ver m the city. 

/ 9 


I Woman’s Way,” comedy in three acts 
toy Thompson Buchanan. First time in 
Boston. Produced at Milwaukee Jan. 7, 
L%9. Production in Boston by William 
A. Brady. 

Howard Stanton C. Aubrey Smith 

Oliver Whitney Jack Standing 

j Edward Morris Frederick Eanieiton 

Bob Livingston Henry Miller. Jr. 

1 Oeneral Livingston Charles Stanley 

j Wilson Reginald Carrington 

Harry Lynch Elwood Cromwell 

Bates Gardner Burton 

I Marlon Stanton Grace George 

| Mis. Elizabeth Blake more 

Carolyn Kenyon 

Mrs. Livingston Ruth Bens- -a 

Mrs. Stanton Evelyn Carter Carrington 

Salle Livingston .Jewel Power 

Belle Morris -.Estelle Christie- 

The tile of this comedy might well be J • 
“The Other Woman/’ or the comedy 
>nlght be called “The Duel.” It mat- 
ters not that, these titles have been I 
tused before by novelists and play- J 

Wrights. The wife plays a daring 
game to win back her husband. To , 
enable her to triumph, the dramatist I 
thoughtfully provides many and ap- L 
proved stage tricks. The victory is ^ 
easily anticipated, but suppose tiier' 
toad not b^n communicative frier; 




li- , 




At the Hollis Street Theatre, in "A 
Woman's Way." 

.fiouglf MIS's ftPflVoti Sa ve a wen fleHneS’ 

impersonation of Mrs. Blakemore, and 
suggested the sensuous and seductive 
adventuress in love who spared neither 
the cradle nor the grave. She looked 
the part and she played it with the 
quiet intensity of an experienced amor- 
ist. Mr. Smith gave a thoughtfully 
composed impersonation of the husband. 
Weak and irresolute is man, as the old 
hymn has it, and Stanton was no ex- 
ception: yet Mr. Smith made him at- 
tractive. and the large audience as well 
as Marion thought he was worth fight- 
ing for. After all the duel between the 
women was not a fair one. Male 
pique and male cowardice on the part 

of Mrs. Blakemore’ s former admirers 

came to Marion’s rescue. There 

The comedy was 'veil received. _ There 
was much laughter and t. re 
tain calls. 

im "s 

j Company in “His Honor the Barber 
' at the Grand Opera House. 

i Mose Lewis BurrlB 

Cant Percival Dandelion* •••• .. 

'- AP * Lawrence Chenault 

Wellington White Rvlng Allen,: 

t iiv White Jennie i earl , 

Caroline Brown G r?rme« 

pun Wheeler Wilson Alberta Oimetj 

lahe Johnst, Andrew Tribble 

Raspberry Snow S. H. Dudley I 


c* n 

draina in me act- * 

time on any stage. 

Richard Arkwrlgh*^^—^' y an R e nsselaer 
, Tames S. Barreto I 

Archibald Rivers Harry E. Humphrey 

Uncle John... Hal Brown 

philosopher Dan Tommy Shearer 

Tim ,•••-• 




Program of Varied Selections Giver 
by Pianist Last Evening. 

Harry Brooks 
.Harold Clairmont I 


Doctor George Mack 

James Ketchum 

Hannah Beatrice Turner 

Fifl ...•••••• •• Charlotte Hunt 

Bessie Cleveland 

Modern Music Made up Program of 
Pianist at Stelnert Hall, 


.. Mrs. Blakemore at the dinner to 
vhich the wife invited her? Or sup- 
>se that Mrs. Blakemore, a clever 
.Oman, had not accepted the invita- 
, don, and it is doubtful whether with 
i Iter shrewdness she would have ac- 
I cepted in real life. But in real life, 

! one might say, the Blakemores are 
not always defeated. 

1 "A Woman's Way” is a comedy that 
with the part of Marion Stanton played 
| By an actress of only ordinary ability 
l or by a woman dear to the public for 
I her “personality," might easily be a 
' farce or a melodrama with farcical 
episodes. As It is played with Miss 
George as the wife, it is a comedy, and 
Hike true comedies it contains satire and 
js flavored with a certain but not dis- 
pleasing bitterness. The play is char- 
| a te-ized as a comedy of modern life. 

I but while the allusions to newspapers 
of New York and the use of the auto- 
mobile are contemporaneous, while the 
families Introduced are New York- 
rs that would have been acknowledged 
y the late Ward McAllister, although 
do not here refer to their impersona- 
tors, the essential elements of the com- 
edy ’are old and familiar. . 

i The success of the play lies in the brisk 
presentation of these elements, in the 
■ crispness, humor, and wit of the dia- 
logue, especially in the lines spoken by 
Miss George It must be confessed 
kthat the male characters as a rule are 
leads, and Mrs. Blakemore deserved bet- 
iter treatment from them. They had 
no gratitude. Here enters satire as 
the bitterness enters into the dia- 
logue between husband and wife, 
even into the recollections, vague on 
Lthe. pert of the husband, but distinct 
the part of the wife, of blissful 
•3 before the two began to drift 

Nta one should be surprised at anything 
w-a clever woman does, and it would be 
(foolish to say that no self-respecting 
I woman would send an invitation foi 
dinner to a rival whom she did not 
know or would be willing to take hack 
.her husband after he had violated Ins 
vows, not as the victim of a grand pas- 
sion but as an idle seeker after a muse - 
I met - The tragi-comedy of married life 
acted in all cities, and the wronged 
wi'e 's not always a distressed heroine 
.weeping -on the house-top and in the 
k.arket-place, eager for the sympathy of j 

rg Jones is curious to know how 
another woman ensnared her .Tones, 
wno has not for some years been sen- 
timental or passionate as a spouse. Is 
Ltie dark or a pulpy blonde? Has she 
” witty tongue and a sympathetic 
n inner’ Does the spell lie in some 
audacitv of dress, in some subtle, 

, altering perfume? Is the sym- 
pathy art, stic, literary, convivial, 
liic or plutonic? That Mrs. Stan- 
>n in the play should invite Mrs. 
Iakerr., ire is not. after all, unreason- 
nle, for Marion was always doing and 
tying the unexpected, and she was j 
irewd That Mrs. Blakemore should i 
ecept. taxes credulity; she would! 
■ ave suspected a plot. 

F Mr. Buchanan is a fortunate man. 
fc.r Miss George, by her gentleness, her j 
t: u“ womanly qualities, which include | 
•* . mtalizlng, delicious coquetry: her re- j 
ired and authoritative wit as a I 
Han. the charm of her voice, the grace 
• manner, makes tins wife an 
le creature of flesh, blood and 
Miss George usss her brains, but 
aving is never coldly intellectual. 

much more than a calculating 
te to make dramatic points. The 
•iglit's lines, however drab they 
seem in print, sparkle on her lips, 
mph’yment of gesture is discreet 
fective. Her mobile, sensitive face 
iuent.. How significant her vocal 
,._sis ! How telling her reticence! 
m~ the sentimental passages that 
lid have been commonplace played 
another were ennobled by the sub- 
g, yet pulsar-’ emotion of this ad- 

Charles Anthony gave a piano recital 
in Steinert Hall yesterday afternoon. 
The program was as follows: 

Glazounoff. prelude and fugue: Brahms. 

‘ sonata in F minor (first three movements): 
Chopin. Nocturne in C minor; Jensen, La- 
■ ndler ■ Debussy. “Clair de Lune” : Reger, 
caprice; Satnt-Saens. study (in the form 
of a waltz). 

Mr. Anthony Is to be congratulated 
on his program making, for the compo- 
sitions were admirably chosen and 
combined. Although all the music was 
modern, or at least of the Romantic 
school, there was plenty of variety and 
no kaleidoscopic transitions to jar the 

Both the prelude and fugue of Glaz- 
ounoff were given in a slower tempo 
and in less strict rhythm than one is 
accustomed to hear, but both were care- 
fully worked out, and, in general, cleanly 

Mr. Anthony did not give a very 
clear or compelling interpretation of the 
Brahms sonata. It became rather 
formless and monotonous, especially the 
j second movement. The infinite variety 
i of tone demanded by the. sonata is not 
; yet in Mr. Anthony's power to produce. 
The Laendler, which is seldom heard in 
concert, was played with the sense of 
proportion which was lacking in the 
sonata, and was the most effective 
number on the program. 

Mr. Anthony is not a particularly 
emotional player, therefore the Chopin 
Nocturne and exquisite little “Clair de 
Lune” of Debussy left something to be 
desired. The caprice of Reger and the 
study by Saint-Saens were brilliantly 
played. Mr. Anthony’s technique isl 
good and he is a conscientious musician. 
The audience was appreciative, and at 
the close of the program demanded an 
encore. Mr. Anthony responded with a 
Strauss Intermezzo. 

COLONIAL THEATRE— l-'lrst pro- 
duction in Boston or “The Fair Co- 

KEITH’S theatre. 

Princess Rajah, Nat Wills and Oth- 
1 ers Help to Make up Good Bill. | 


Clarice v.nce ad «'«'*" ' 

Bright Spots in Week 

Clarice Vance and William Dillo- 
divide the honors at the American Musk 
Hall this week, with the Bogannyj 
troupe of acrobats not far behind in 

syW b l H 


Frederick Hastings, baritone, gave a 
song recital in Steinert Hall last even- 
ing. ITc was assisted by Arthur Foote, 
who played the accompaniment to four 
of his songs, and by Andre Benoist, 
who accompanied two of his own songs 
and those of the other composers rep- 
resented. There was a good sized and 
very friendly and applausive audience. 
The program included songs by Schu- 
mann, Beethoven, Berger, Strauss, 
Henschel, Homer, Whelpley, Hammond, 
Branscombe, and those before men- 
tioned. . 

. ... Mr. Hastings was heard at a recital here 

ed,” a three-act college comedy with two or three seasons ago and he then 

z~i o'a.vp nromise, foi nis vote© wa.s a. ® u ^ 

music, book and lyrics by George manly one; he showed a desire to 

Ade, music by Gustav Luders. Cast: interpret as well as sing, and he was 

Davy Dickerson Arthur Stanford evidently an earnest, enthusiastic sot t. 

m.n: — tik.A ... .Sydney Jarvis i->„ has sun? m many states 

George Copeland, Jr., gave a piano 
recital last evening in Checkering 
Hali. He played the following pro- 
gram: Bach, English Suite, No. 5; 

Chopin, Study and Ballade in A fiat 
major; Schumann, Symphonic Studies; 
Dtbussy, "Le Petit Berger,” “Danse 
g acree — Danse Profane,” “Reflets dans 
l’Eau," “Poissons d'Or," “Et la Lune 
Descend sur le Temple qui fut”: Al- 
beniz, four Spanish dances, "El Al- 
baicin,’’ “Aragon,” “Triana," “Mai- 

aga.’’ . 

Mr. Copeland has become so much I 
identified with the music of Debussy | 

I that this program seemed an unusu- j 
i ally catholic one. It was not so varied 
| in performance, however, as it reads, 

! although admirably chosen and ar- 
' ranged. , . i 

It is not necessary at this late day to ; 
speak in detail of Mr. Copeland’s inter- | 
pretations of Debussy’s music; he is ajj 
recognized authority on that subject, || 
and to the lovers of Debussy at his best] 
Mi. Copeland is as his prophet, “he | 
Petit Berger” is not of Debussy’s best; 11 
.it is of tiny proportions and material, I 
and pleased by its salon delicacy. Most! 
of the charm and significance of "Et la l 
Lune Descend” is in the title; the music! 
itself has not the compelling suggestive- j 
ness of “Reflets dans l’Eau” or “Pots- I 
sons d’Or,” or “Clair de Lune," whietvl 
the. pianist added to the program. 

The four Spanish dances were piayed. I 
for the most part, at such a breakneck 
tempo that the recollection of them :s 
confused. No doubt they should be 
plaved with a certain madness; yet the 
speed last evening was at the cost of 
clearness and the pieces were not much 
individualized. The same refect marred | 
the performance of Chopin's Ballade; 
its narrative quality was out, | 
and there was a pleasant excitement in 
the very velocity, but the tempo was 
not well advised. 

There was an appreciative audience of 
fair size. 


Tlie> Apoilo Club, Emil 
conductor, gave a concert last night ( 
iin Symphony Hall. T,ie 0 " b " a - , 
assisted by lime. Johanna Gadski. so- , 
: prano The Boston Festival or- hesua. 
Carl Damson pianist, and Grant Drake. 

I organist. The choral pieces 
j follows: 

'•T relawn 


. . . . Elsie Janls 

Wellington Reed. . 

Josephus Cadwallader. . 

Ernest Grubb 

Freddie Carrington. . . . 

Bob Chester 

Capt. Peacock 

Squab Dingle 

A Sergeant 

Cynthia Bright - 

Angelina Baxter Inez Bauer 

Hazel Pinkham A.lthea Francis 

Byrdie Wheeler Marion Mills 

(Magnolia Curtis Elsie Steele 

Cure,” first production in Boston; with 
the following cast: 

. ..Charles J. Ross 

Torelli. • • Oraiv Campbell 

Alfred Blake Bred Frear 

Mr. Blake. Allen 

.■.'.'.'.■.'.Thomas H. Walsh 

Mi. Shuman. . . • James Horne 

James ■ ■ ■ • ■ • • • .Arda Lacroix 

Leading Old Man Harry Hyde 

Clarence Chaum ey otto Itaestner 

Vr'ifie Va'uKlin ..Mme. Lina Abarbanell 

Mildred S-lflUn pristine NUflgen 

Mrs. Julia S i 11 iman Blanche Rice 

..l ading Old woman. .. • ; ^’en ^kweU 

r’V»r>m<; Girl« 1 Eleanor St.. Clair 

Chorus Dim | Myrt i fe Wellington 

$ Grace Waldo 

Pages Elizabeth Bell 

.Stage Doorkeeper P Fred BaTdwln 

Carriage Caller • • ' an felcK,e 

Manager of Novelty Theat ^ a< ; ’ McDermott 

Stage Manager Novelty T " eat ™| lto ' n p 0 ’ Uo ck 
'Assistant Stage Manager. . .Harry B. Russel, 

-Majestic theatre "The Rose of 

Algeria ” a musical play, presented by 
few Fields; hook and lyrics by Glen 
MacDonough; music by Victor 
First performance in Boston. The cast. 
Zoradle, Sultana of the Iiiuakoesh ^ er ] cil , 

• ..AAtuiu CV lUCUtlj 1 . , ^ _ 

....Sydney Jarvis S j nC e then he has sung in many states 

"' E H g DaHd 1 T t odd and been applauded. 

. GUbcrt Douglas His performance last night did not 
....James Reaney: fvilfil the promise of the earlier one. 

Harry Wood tones we re not so well produced, 

ms intonation was not sc . sure his 
enunciation was not so distinct. Pe 
haps, accustomed to large halls in the 
course of his tour last season, he did 
not appreciate the fine acoustic quali- 
ties of Steinert Hall. Perhaps his en- 
thusiasm o’ercrow’ed his judgment. 
The fact remains that he was too 
often vocally boisterous and unruly. 

He assumed a gentler vein when he 
came to Foote's “On the Way to Kew’’ 
and he' sang the old air “Meet Me by 
Moonlight” simply, and without the 

Roses | 

— and 
“May Night” and 
"Dedication,'’ R- 

r, fitbel <ire« u 

Edith Ethel MiieBi'idc 
Laura Campbell 
- iwles 

; Milllcent Madison, M 
iMIrzah. • 

. Eugene 

AU'V. peth ..William Gaston 

Bannim Diamond 

pity that he has not made marked 

= — u* - .. , vnirni f 

too evident Intention of making an 
effect. By this song and in Benoist’s 
“Rose Leaves’’ he made an agreeable 
impression. In the majority of the 
other songs his vocal violence soon 
fretted the hearer's nerves nor was 
the hearer consoled by the singer s 
almost grotesque attempt to be start- 
lingly dramatic in Schumann’s “Wai- 

1l is high time for this young singer 
to consider his ways. If he goes on in 
his present path his voice will inevi- 
tably suffer in a few seasons. It was 
seldom last night that his tones were 
pure, well rpunded. resonant. There was 
force, force, and there was the sight of 
the singer exerting it. Mr. Hastings 
should not only attend diligently to 
technical matters; he should give his 
spare hours to inquiring into the se- 
cret, of interpretation. To shout Is not 
necessarily to be dramatic. No effect 
is gained bv facial and bodily contoi 
tlons. It is' true that the general pub- 
lic in many cities dearly loves any 
flisplav of force or agility, and it ap- 
plauds it wildly; but this sort of suc- 
cess reminds one of Victor Hugo’s sav- 
ing, "Success is hideous.’’ Mr. Hast- 
ings has good stuff In him. It is a 

’he m 


the supporting 
to the women. 

■ Billings F. Cooing* . 

(fillings F. Cooing* 

Lieut. Bertrand 

Ralph Nairn 
i.”'.'. Maitland Davies 

Improvement, that mannerisms and 
faults that were only noticeable at 
times in the beginning are now almos, 
constantly In evidence. 

Mr Benoist played his aocompan.- 
ments as a rule in rivalry of the sing- 
er, and he played pieces b> Liszt ana 

Thaver (with orchestra”, 
van ST Water: “Dan Cu p.d. 

Relnccke , “Lullaby. , ••Locbin- 

ube.” Strauss twith ■ n J - Alfred 

var,” Hammond (bat Stone orcheatr a , ; 

Dengbausen. -.‘X .qve M»rU," Bach- 
“Reveries. istoren, “ , . . nr «»an, and 
Gounod (with " Sullivan 

« theu'rc 

I -The Troui,” Schubeit, 

“Message,” Brahms; 

S Theorchestra played an intermezzo by 

A Las e t a ' season tlAfe CEb broke 
away from traditi^ and gav^ its flr^ 

aTootaS?. and the general pub- 
Uc was admitted. ^ 

successful that a cont . , . w .l 


attendance was much - 

rr ,r,? 


!i?i 5 SS^«£ 

Mr. Thayer’s 3t ^ t . Re n^Ue s effec- 
with uncommon s I>; rlt ' Hf.- .g char m- I 
tive trifle was repeated ; Glb3 °*, S ™ 

piano accompaniment and that it ~es 

the composer’s musical thought ana < ex 
Lllt5 . of an or gun is 

Z the point. As thc ballad was per- 

Uttic romantic or dramatic Interest and 


heamty. _ 

thankless task for the 

chorus singing tyas highly cred- 
e to the members of the club and to 
i/ | conduct')!'. The quality of tone, 
tever force teas exerted, was rloh 
.1 full, and the parts were well bal- 
licpd. There was not only the technical 
roncieney for which the Apollo lias 
onr been celebrated: there was also an 

( exhibition of mil steal intelligence and 
aesthetic feeling. 

me. GadskI sang the entrance aria 
of . Elisabeth with the appropriate ex- 
ultation, but she was less effective in 
the episode of tender recollection. 
Her phrases had not always a con- 
tinuous flow; they were at times agi- 
tated when they should have been 
sustained, and broken unnecessarily 
for the sake of taking breath. In the 
aria and also occasionally in the 
songs she forced tone. In the group 
of sengs, which were accompanied by 
Mr. Isidore Luckstone. she displayed 
a more marked appreciation of vari- 
ous sentiments than she has In her 
recitals here. Her reading of the de- 
lightful old song, "Phyllis has such 
charming graces,” was mannered; the 
rhythm was capriciously treated, and 
the pace of the minuet-like refrain 
was too deliberate. She sang with ef- 
fective simplicity the air by Rolch- 
erdt, and with an emotion, unusual to 
her, “Malnaeht,” by Brahms. She was 
loudly applauded, and after the group 
she sang Schubert's “Erlking.” 


Miss Tracy and Miss Halliday Give a 
Recital In Steinert Hall. 

— 4. r, 

A charming recital was given last 
evening In Steinert Hall by Miss Mary 

rano, assisted by Miss Anna 
'e u 1st. The program was as 

Tracy, soy 
Halliday, ’ 

"Yoi rhr sfipete.” Mozart: “Gotino E-iallr*. * * 
Krogl; “In rinollo trine morhlde.” Puccini: 

Adagio.’* for ’cello, Bargiol: “Ich 1i<*be <j!ch.” 
'irieg: “Vergpblfcbes StAeodehen." Brahms: 

T'ai plouro en rove,” Hu*; “Ouvre t*»s yeux 
hleus." Massenet* “Th*' Swan" ('cello). 
Saint-Sacn^ ; “Scherzo” (’cello). Von Goene: 
“Ah. fyire but a Day!’’ Beach; “The Lass 
with tho Delicate Air,” Arne; “Tho’ the Last 
Glimpse of P?rln.” Moore; “The Danzn,’’ 

One felt as though one had stepped 
into a fragrant flower garden. The pro- 
gram was given with a directness and 
lack of affectation that was delightful, 
and the performers were good to look 

Miss Tracy has a light voice of de- 
cided sweetness and fair range. Her 
breath support gives one at times a 
feeling of uncertainty on sustained 
tones. Nor was there much dramatic 
fire visible, but thal may come later. 
Miss Tracy has much of the founda- 
tion work done; her phrasing was good 
and the enunciation remarkably clear 
in all four of the languages repre- 
sented on the program. 

Miss Halliday lias not yet emerged 
from the musical nursery. Her tone 
is full and sweet, but she has a ten- 
dency to press the bow too hard in the 
middle of the stroke, which gives a 
rescendo to each long tone, and this 
brings monotony. The Intonation was 
flawless. Von Goens' Scherzo was 
played in excellent style. 

Both musicians were wise In choos- 
ing music which lay well in their power 
to perform. Their audience was thor- 
oughly appreciative and will look for- 
ward with confidence to an even more 
pleasurable recital next season. 



1 A** fft y M r 

In Classical Program Presents 
Gluck’s Iphigenie en Aulide: 
Sicilienne and Bacchanale 
Also Features of Symphony 
Hall Appearance. 

Miss Isadora Duncan, the i ancer. re- 
newed her pleasant acquaintance wit.i 
Boston yesterday afternoon at Sym- 
phony Hall, In a group of dances and 
choruses from Iphigenie en Aulide b; 
Christopher Gluck. She was assisted 
byy Symphony players under Gusto-, 
Strube. This was an attraction which 
evidently had been eagerly * antici- 
pated, for despite the time of day. 
there were only a few unoccupied 
seats. Throughout the concert ap- 
plause was frequent and generous. 

The program was rather more 
classical than that which Miss Dun- 
can offered at her appearances last 
■ear. There were 10 numbers, in- 
ludlng the somewhat difficult greet- 
ing to Iphigenie In Aulls, but If the 
ijnthuslastlc audience had had its way, 
ss Duncan would still be dancing 

Hie Symphony stSge, After the 
IBacchanale, Insistent clapping and 
pourtding of parasols on the floor re-, 
called Miss Duncan three times. 
lEven with these extras the admirers 
were loath to depart, but Miss Dun- 
can had to catch a train Cor New ! 
York and so the concert ended. 

To say what was the pleasantest 
feature of the afternoon is difficult'- 
itself and the easiest way out of t lie 
dilemma is to give the whole pro- 
gram. It comprised: 

Two numbers In a greeting to Iphigenie tn 
| Alius, two In the maidens of Clialkts playing 
at ball and knuckle-bones by the seasiim. 
live illustrating the pleasure of the maidens 
at the sight of the Greek fleet, a garotte jind 
an air from Bach. Cboeur de« Pretessis. 
Dnnses des Scythes, dance of the blessed 
spirits (from Orpheu*!. Musette. Sicilienne mu 
Bacchanale. The three encodes were a hit of 
Shubert, a little minuet aud the aln-avs a 
qnlslte Blue Danube. 

By the time Miss Duncan began to 
Illustrate how the maidens of Clialtcis 
played at ball and knuckle-bones she 
had completely captivated her audience. 
Those who saw this interpretation last 
year can easily remember the grace, 
charm and absolute novelty of it, and 
those Who saw It for the first time yes. 
terday are not likely at once to forget it. 

The dance of this theme yesterday was 
Interrupted for a few moments by pieces 
of glass which had been left on the 
stage. In one of her exhilarating mo- 
ments Miss Duncan put her foot on a 
pebble and had to retire temporarily. 

Easily the features of part three of 
the program were the Sicilienne and the 
Bacchanale. Here Miss Duncan over- 
flowed with vivacity, and these two 
dances reflected sweetness and light. 

Miss Duncan was as flimsily costumed 
as usual— a circumstance which in no 
wise seemed to offend the taste or moral 
viewpoint of the most circumspect man 
or woman in the audience. 

Joble Work Heard at the fifth 
Concert for the Third Time in 
Boston — Miss Geraldine Far- 
rar Sings. 


The fifth concert of the Boston Sym- 
phony orchestra, Mr. Fiedler, conductor, 
took place last night in Symphony Hall. 
The program was as follows: 

Symphony in B flat major. N T o. 2 d'l.idy 

Lucette’s air from "Sllvaln" Gretry 

"Reves (renfant” Tschaikowsky 

All' of Azael from 'The Prodigal Son" 


Overture to "The Sold Bride" Smetana 

This was the third performance of 
D’Indy’s symphony In Boston. The 
first was led by Mr. Gerieke in Jan- 
uary, 190a; the second, Dec. 2 of the 
same year, was led by the composer. 
Works and conductors are quickly 
forgotten in the fleeting years, but 
some may remember the discussion 
excited by this symphony. Some ar- 
gued that as it w'as stuffed with dis- 
sonances, It was not only indigestible, 
it was immoral. The music was 
dubbed ugly, and the old cry was 
raised: "There is no place for ugli- 

ness in art.” 

They that thus characterized the 
symphony probably intended to say 
that it was ugly' in their ears. Unable 
to appreciate unerring and superb 
workmanship, they wished that their 
ears should be soothed or tickled. 
They preferred to be passive hearers. 
It did not occur to them to bring an 
imaginative mind to the symphony; 
to endeavor to ascertain the purpose 
of the composer. Some dismissed him 
as a Frenchman and therefore a man 
deliberately trying to .be bizarre. It 
was seldom that these objectors would 
sit down and dispute calmly and rea- 

They would not have the Symphony, 
and those who saw rare beauty, lofti- 
ness of thought, elemental depth and 
all-embracing breadth, exultant strength 
as in the apotheosis— one of the most 
remarkable finales in the whole litera- 
ture of music— were surely affected per- 
sons, men and women who should be 
suspected, and it was whispered that 
they were- “decadents.” that they en- 
tertained dark thoughts about morality 
and religion. And so It was once with 
the music of Beethoven and later with 
that of Schumann, and still later It was 
Wagner’s turn. Wagner, like d’Indy, 
was not a melodist. 

It takes some time to become ac- 
quainted with the language of a new 
thinker in music. Hearers who believe 
thai the art died with Mendelssohn, but 
admit that Tschaikowsky and Brahms 
were men of parts, though often mis- 
taken In the expression of their 
thoughts, will not lake the trouble to 
listen attentively to the compositions of' 
D'Indy, Loeffler, Debussy with the de- 
sire lo extend their musical horizon. 
They miss Iho old familiar harmonic 
progressions, th melodic lines drawn 
•.v/. .vis reason: the \\f 

, r Wlt~ ) 

a’tt i t . approved pattern, the conserva- 
tive and safe routine. They have ears 
hut they do not hear, nor would they 
be persuaded or coflvlnced if a great 
master spoke to them from the dead in 
admiration and praise of those now 
living and misunderstood or slighted. 

Works come and go, and the great 
majority are in a few years, or even in 
a season, as though they never were. 
Why recall the discussion concerning 
D'Indy’s symphony, why discuss it to- 
day? The inspired work will arouse 
enthusiasm and wonder long after we 
all are unable to chatter and squabble. 
The impression made last night, thanks 
to Mr. Fiedler's admirable reading and 
the equally admirable performance, 
was deeper than before. Here is music 
that comes from both the heart and the 
brain, music that is free from taint or 
dross, music that invites to contempla- 
tion and meditation, that strengthens 
and purifies the soul. 

There is no program save the sugges- 
tion of the two eternally warring forces, 
the powers of good and evil, with the 
ultimate triumph of righteousness as 
proclaimed in the magnificent chorale at 
the end of the last movement, A pub- 
gram, however thoughtfully written, 
would be Impertinent. The composer has 
put the adventures of his soul into music. 
That soul, tried and tempted, vexed and 
buffeted, is a noble one; melancholy 
and proud, yet not disdainful or forget- 
ful of humanity and love; not bound to 
earth, not sensuons, but serene, con- 
fident, receptive of divinity. 

Miss Geraldine Farrar sang here at a 
Symphony concert for the first time. 
Her first .selection was an air sung b.\ 
the younger sister in Gretry's "Sii- 
vain." which is not an opera in the 
modern meaning of the word, but a 
little comedy written in Marmontel’s 
artificially simple manner with ariettes 
and concerted numbers. Luc-eite tells 
why she thinks her sister is in love. 
She gives childish reasons, yet there is 
ill them the coquetry and the malice of 
the girl who has already begun to won- 
der curiously about love and would 
fain know its. secrets, its bliss, its 
fever, its dole and teen. The music is 
fragrantly old-fashioned. It has the 
; tenderness of Mozart with a naivete 
that reminds one of the wondrous boy. 

| with a piquancy In the melodic line that' 
i.s wholly French and of the 18th cen- 
I tury. 

The other air was that of Azael, 
the tenor, in Debussy's cantata “The 
Prodigal Son," with which the com- 
poser took the prix de Rome in 1S84 
when he was 22 years old. The music 
has grace and charm after the man- 
ner of the earlier Massenet. There 
are few hints of the later and greater 
Debussy, but the melody has a pretty 
flow and the instrumentation is 

Miss Farrar, dressed unconventionally 
aa far as the traditions of the Symphony 
stage are concerned, but an apparition 
of loveliness not soon to be forgotten, 
sang the air of Gretry with true and 
adorable simplicity, and the air of De- 
bussy with a quiet intensity of recol- 
lection and remorse that gave dramatic 
significance to the music which Is in- 
herently superficial in the expression of 
emotion. Never lias her voice seemed 
more beautiful. Never has she sung 
here with truer art, 

Tschaikowsky’s “Children’s Dreams,” 
played for the first time at these con- 
certs, a. movement in his second Suite, 
is amiable music, conspicuous only by 
reason of a few instrumental touches. 
Smetana’s overture is always welcome. 


An Agreeable Player — Touch Is Mu- 
sical and Individual. 

John Beach gave a recital at 28 
Fenway yesterday afternoon. The 
program was as follows: 

Schumann, two Fantasle pieces Xovel- 
lette; Brahms. Romanza, tw 0 Intermezzo 
Rhapsodle; Chopin, live Mazurkas; Faure, 
Barcarolle; Scriablne. Etude: Beach. Inter- 
mezzo, Balcony Lyric Masques; Albeniz, 

Mr. Beach is an agreeable player. 
His touch is musical and Individual, 
although he has no great variety of 
tone color at his command—. The 
Brahms pieces were givelf with a 
good deal of breadth, especially the 

Move power would have been desirable 
in the climax of the second of the two 
intermezzi. Tn fact, several times dur- 
ing the program one felt that Mr. Beach 
was not letting himself out as much as 
he might, but reserve force is not 
usually considered a fault In a young 

The Chopin mazurkas were disap- 
pointing in that they lacked poetic 
feeling and the rhythm was too strict. 
In the rest of the program Mi- 
Beach’s rhythm was excellent. The 
bast work was done in Scriabine’s 
Etude, and in an encore, a caprice of 
Arensky, which was brilliant. 

Mr. Beach’s own compositions are 
interesting and melodious, and were 
! played with confidence and real feel- 
| 1 n g. 



The Herald has received Lim 1'nliowliia 
| communication : 

^ BOSTON, Nov. 4 

To the Editor of The Herald; 

Now, when everybody Is talking about 
the opening of the Boston Opera Home 
It would be interesting to learn how 
many realize that they have had in 
opportunity to hear a singer from the 
Metropolitan opera company every dav 
this week. 

Mme. Idna Abarbanell made her de- 
but in this country In "Hansel and Gre- 
tel" at the Metropolitan Opera House 
In 1905, and with her sympathy, inter- 
pretation and beautiful voice mm with 
great success. Before coming lo this 
country she w is one of the best known 
and most popular singers in Germany 
As our American public Is so little 
versed in the affairs of other countries 
her reputation in Boston depends chief- 
ly upon her Sonia in "The Merry Wid- 
ow." In that play she performed a re- 
markable feat; she lifted, not only the 
part of Sonia alone, but the whole play 
up to the level of poetry. Her mobile 
face, her voice, her grace and personal 
charm, all contributed to an artistic 
creation of the highest rank. 

Mme. Abarbanell Is now here in a new 
play, "The Love Cure.” Her voice has 
gained in volume and strength and her 
performance is delightful, but it is a 
pity that Mme. Abarbanell does not re- 
I turn to the lighter forms of grand opera 
; as it is doubtful if an audience that 
[strolls into the theatres for an evening 
of fun is wholly capable of appreciating i 
the beauty of her singing and the ability- 
of her performance. »«* 

Boston Symphony Abroad. 

Nearly all the subscription sales in- 
the various cities where the Boston 
Symphony Orchestra gives a series of 
concerts are closed, and the organiza- 
tion Is assured of the most prosperous 
season in its history. Besides the 24 
public rehearsals and 24 concerts In 
Boston, the seats to which are sold by 
auction and this year realized a much 
greater sum than last, the Boston Sym.i 
phony gives subscription concerts' in 
Cambridge, Providence. Worcester 
Hartford, New Bedfotd, New York’ 
Brooklyn, Philadelphia, Baltimore and 

Washington. In all of these fcities the 
houses are nearly sold out for the sea- 
son, and this despite that never in the 
history of the United States lias there 
been so much musical activity as there 
ts this year. The subscription sale for 
the 10 concerts in New York is par- 
ticularly gratifying, because it demon- 
strafes once more how firmlv estab- 
lished Boston's Orchestra, has become 
in the affections of tile musical public 
of tne metropolis. 

Concert Notes. 

Serge Rachmaninoff, the distinguished | 
Russian composer, pianist and condue- ! 
tor, will play at his recital in Symphony 
Hall, Tuesday afternoon, the 16th, his; 
own sonata, op. 28, his variations on a ! 
theme of Chopin, and six preludes 
Fritz Kreisler will play at his violin 1 
recital in Jordan Hall, Monday after- 1 
|l ,loon - 'the loth, Bach’s suite in E minor I 
,| and prelude and gavolte in E major 
Pieces by Martini. Dlttersdorf, Porpora’ ! 
Francoeur, Tartini, Debussy Saint-! 
Saens, Paganini. Wieniawski nd his | 
own "Caprice Viennois,” and "Tam- i 
bourin Chirois." 

Mirlco; ’cellist, will give his ! 

| first recital in Boston at Chiekerln*-’! 
Hall Tuesday, the 30th. He is a native 
lot Austria, Hungary, and a graduate of I 
the Vienna Conservatory. He joined the 
Boston orchestra this season. 

On Wednesday evening next. Charles 
F. Hackett, tenor, will assist at a piano- 
la recital in Steinbrt Hall. 

Felix Fox has two piec< - on the pro- 
gram of his recital in Steinert Hal) Nov. 
is, which will be played Imre for the 
ju-st time: Debussy's “Children's Cor- 
ner" and Moszkowski’s "Piece Rnraan- 

Richard Platt will give a. piano recital 
Tuesday evening, Dec. 14, in Steinert 

Yolanda Mero. 

The, Herald publishes today a portrait 
of Miss Yolanda Mero, the Hungarian 
pianist, who will give a recital in Jor- 
dan Hall Wednesday afternoon, when 
she will make her first appearance in 
Boston. She was born at Budapest in 
j 1887, and began to study the piano at 
the age of five with her father. A year 
later she was admitted to the Conserva- 
tory, where she took lessons of Mme. 
Augusta Renneman. a pupil of Liszt. 
At the age of 14 she gained a scholar 
ship and a diploma. She then made 
concert tour. P/avIng played 
marked success in Berllp, Leipslo 
other German cities, she gave a 
of recitals in London a year a; ■- 
month and made a deep implies 
audiences and critics. She pi I 
the first time in tills countr . 

York on Nov. 4 with the Ruj d J " 
phony Orchestra. 


Dereyne with Constantino, Fornari and j 

Miss De 


tion of the Boston Opera i 
row night is an event that] 
ticipated with keen pleas- 1 
U a n interest not confined 
vers of operatic art. The 
the initiative force, the 
f Mr. Jordan, the enthu- 
r. Russel!, the intelligence 
ste of Mr. Haven, the ar- | 
the support of the Boston 
be seen and long remem- 
s opera house, a handsome 
remarkably well equipped 
ose of producing opera that j 
ed be ranked with the best 
s in the world. Boston at 
last has a theatre in which the spec- 
tacle of opera can be brilliant this side 
of the footlights; there is now an op-, 
portunltv for women to display their I 
gowns in foyer and in boxes, and it | 
should not be forgotten that the bril- j| 
liant aspect of boxes and orchestral 
? chairs, the sight of fair women in gala j 
costume, the coiffures, jewels, flowers, I 
■ perfumes— all these add to the excite- j 
ment and the joyousness of the scene. 

“ Furthermore, there is the earnest pur- 
pose of those who have charge of the 
■i productions to make them well-rounded 
1 and complete, to perform an opera 
! with scrupulous care to the details, 
with appropriate scenery and dress, 

' with an imposing chorus, with minor 
| parts given to capable singers, with a 
baliet, when one is required, that will 
not be ridiculous in the eyes of both the 
old and the young. 

The dedication of this opera house 
will be something more than an im- 
portant social event, a striking specta- 
cle. It will have a marked influence on 
he musical taste of the community and 
>n the future history of music in this 
city. It is not unlikely that a perma- 
nent opera house in Boston will be bene- 
ficial to all forms of music. Mr. Hen 
derson of the New York Times last 
Sunday expressed the opinion that the 
popularity of the opera, "or rather the 
reception of it into the favor of fash- 
ionable society,” will probably act di- 
L reetly against the interests of the musi- 
Ccal Institution of which Boston has 
K great reason to be proud. He referred 
to the Boston Symphony orchestra. He 
J argued from the premise that Boston is 
■ not free from "the taint of social 

pride.” "It is pretty certain then that 
the merely rich who have hitherto gone 
to the Symphony concerts because 
these were the public centres of social 
life will desert them for the opera. 
When the rich ±go the would-be rich 
will surely follow, for society cannot 
move without its fringe. The sincere 
music lovers will endeavor to get what 
is best out of both Symphony concerts j 
and opera. Unfortunately the true mu- | 
sir lovers are not in the majority among i 
the merely rich or even the ancient and j 
honorable of society. True music love 
seems to flourish chiefly among those; 
people who are obliged to combine plain I 
,'I\ing with comparatively high think - 1 

Bernhard t~ ' VyA 1 ben's opera. “Der Im- 
provisator.” is indebted to this drama, 
as are Mereadante’s "II Giuramento" 
and Cui’s "Angelo.” 

"La Gloconda" was produced at Milan 
in lSTtl. It was not performed In Boston 
until Jan. 1. 18S4. One of the pleasures 
of the operagoer is to compare perform, 
ance, to remember the voices and dra- 
matic impersonations of famous sing- 
ers. “La Gloconda" was produced here 
with an unusually strong cast which in- 
cluded' Christine Nilsson, Mine. Furseh- 
Madl, Mine. Scalelii and Stagno, Del 
Puente and Novara. 

The opera was again heard her; March 
10. 1905, with Mines. Nordica. Homer. 
Walker, and with Caruso, Giraldoni and 

Mr. Russell, as director of the San 
Carlos opera company, began an en- 
gagement at the Majestic Theatre Dec. 

9 1907. with "La Gioconda," when the 
singers were Mmes. Noria. Claessens, 
Olitzka, Messrs. Constantino, Blanchart, 

De Segurola. There was a perform- 
ance Dec. 10 with Mme. Olitzka as a 
substitute for Mme. Claessens, and Mme. 
Marchi was the blind mother. Mme. 
Nordica took the part of Gioconda 
Dec. 2$. 

Mme Meitschick and Messrs. Bak- 
1 an off and Nivette will sing here for the 
first time next Monday night. 


Verdi’s "Aida." 

.■.I, Botiinsegna 

Amneris'.'.'.'.'.' Claessens 

A Priestess -Fieeman 

Messrs. Lehra 

(“ sro ", ", ", V. ", ", ", ". ", *. Marines 

£ ic in’ » Archambault 

The Messenger. .' Giaccone 

Verdi's superb opera was first per- 
formed here Feb. 5, 1871, and the 
singers were the Swedish woman of 
hot blood, Mme. Torriani, Annie 
L.-uise Cary, Campanini, Del Puente, 
Vannetti. Scolara, Boy. Think of the 
Vidas that Boston has seen! Fursch- 
Madi, Ambre, Nordica, Pierson, Peri, 
Bonaplata-Bau, Kellogg, Potentini, 
Valleria, Eames. Gadski — the list is a 
long one. There have been many 
tenors as Radames, Giannini, Durot, 
Saleza Frapolli, Candidus, Carpi, 
Ceppi Griff, McGuckin, Dippel, Caruso. 
The opera has been sung here several 
times In English, and Miss Norwood's 
| Impersonation of Aida was admirable 

vocally and dramatically. There has 
even been a performance in concert 
form (April 19. 1907). 

Mme. Boninsegna will Slns k®* fhe 
the first time. Some years ago she 
v is a member for a short time of the 
Metropolitan Opera House Company. 
Mme. Claessens was a membei 
San carlo Opera Company Miss 
Felicitas B. Freeman, a pupil of Mme. 
de Berg-Lofgren in this city ha. 
studied dramatic action in Paris. Mr 
Mardones will be heard here for the 
first time. It is my impression that, 
Mr Archambault, a Canadian, ha 
sung here in concert. Mr. Leliva, a , 
heroic tenor, will sing here for 
first time. 


Delibes’ "Lakme.” , 

, , Mmes. Lipkowska 

Lakme Freeman' 


Ellen !!!!!!!'*' Pierce 

Rosa ' " ' Leverenl 

i Bent sod Messrs Bon rill on 

(Jerald .Nivett- 


(Jerald ; .-Nivette ; 

...Fornari I 

I Frederic '.'.‘.V.’.'! S'troesco i 

This charmingly exotic work _ was pro- 
duced in opera April 20, 1836 by thM 1 ' ' 
fated company then directed brilliantly 
by Theodore Thomas. The performance 
was in English and the chief singers 

was in — - ~ . r . t-),, 

were Pauline L’AUemande. Jessie Bait 
lett Davis Candidus, Stoddard, Lee. It 
was performed here again the next sea- 
son in English by the National 
Opera Company, when Charles Bas- 
«Jtt took the part of Frederic. The , j 
Patti-Tamagno Company gave a pei- . 
formance in Mechanics Building-" 

revne °BoncT and Stracciari sang in the 
performance at the Boston Theatre I 
Vpril 7. 190S, and in the last perform- 
ance, April '3, 1909, by the Manhattan j 
grand opera company, the chief sing- | 
ers were Miss Labia, Mi?s Trentmi. with,, 
Constantino, Sammarco* and de Se- j 

Miss Lewicka and Mr. Boulogne, a! 
baritone of whom good things are said, , 
will make their first appearance here. 


Delibes’ “Lakme.” 

The cast will be that of Thursday evening. 


Venli’s "Aida." 

Mines. Parnell and T.everoni will respectively 
j take the parts of Aida and Amneris. The casi 
1 will otherwise be that of Wednesday evening. 

Miss Parnell has studied singing in 
Boston and has been trained at the 
Boston opera school. Miss Leveroni, 
a Bostonian, who has sung here in 
concerts and in operatic scenes, has 
had professional experience in Italy, 
where she was applauded in several 

Mr. Conti will conduct all the per- 
formances of the week. 

A review of Mr. Ernest Newman’s 
life of Hugo W-olf was published in 
The Herald last, Sunday. Let us add 
hie that, because the I formance in Mechanics , , 1 ! a few paragraphs that were then 

<:• will be generously! where the effect was who y ^ we re J omitted from lack of space. Mr. 

on Symphony orches- | °p a ^ n ®" d Fabbrl and Messrs. Ra- Newman, discussing Wolf as a critic, 

A defen( j s him. and not in an apologetic 

playing in the wil- ! 
Is it possible that Symphony i 
be a desolate house in which j 
sts of the is 
s shall dwell 
ice there, that 
and her days 


s shall 

cry, j 

and s 

atyrs 1 

time is 

near | 

not be 

pro- 1 


nter- j 

estra if 



this | 

ling, as 

ge of p 





in all 

ra Horn 

rate rle 

i and 

ng of 

* a mat 

W of 

nf the T 


(till “fa 


ing we( 

•k are 

vellf and Marcassa. .Patti and RayelU' 

sang delightfully. There «. a "°ther - . 

performance in Mechanics Building, violence ln expression of opinion. He 
March ir.. 1892. with Marie A an z^ndt 1 that his “sourness,” "malig- 

who created the part in Paris Miss De «- 

.... tonnr 

wno creaicu 

•yigne Montariol, an interesting tenor 
of great- promise, who died too soon, and 
Edouard de Reszke. . , 

Mme. Lipkowska, the distinguished 
Russian coloratura soprano, was highly 
praised in Paris last season. 


Puccini’s “La Bolieme.” 

... - LD Mmes. Nielsen 

Mum .... * Iyuwlckn 

xicssw. Constantino 

Scbnunanl...... Tnveccbla 

B . 

Collin^ . . 


' I "" " \ Manlones 

* ’’ ;;;; Mognn 

" ” ’ StrooMCo 

A. Ellis produced “La Bo- 
tlie Boston Theatre with 
elba and de Lussan and 
n dolfini Bensaude. de Vries 
juresquej Jan. 25. 1899. In 1991 
- Melba and Seheff with Cremon- 
Campanarl. Gilbert', and Journet 

manner, from the reproach df acidity, 
spression of opinion. U" 
insists that his "sourness,” "mail 
mity” were exercised only in the 
cause of righteousness. 

Note these words of Mr. Newman: 
"And that there are occasions in news- 
paper musical criticism when the critic 
must express himself with warmth will 
be denied only by those who have never 
been brought face to face with some 
of the problems that beset the critic 
day by day— the dealing, for example, 
with impudent incompetence or the 
cynicism that looks upon the public 
only as a milch cow to be drained for 
personal profit, or the charlatanism 
that plays' upon the half-educated in- 
stincts of the musically illiterate. It 
'were folly to treat things of this kind 
with the same courtesy, the same tol- 
eration as honest effort that may not 
quite reach the goal it aims at.” 

ormance at the Boston 
„ r,. Mme. Sembrich and 
In Marchi were, the lovers, 
i'.i'i.’, at the same theatre. 
-,;t ve performances in Eng- 
ember, 1995), at the Tremont 
S 1 "-nny son and Miss Serena 
mV. Russell opened his first 
ti ,‘ the San Carlo opera 

• t the Park Theatre May 1, 
th,. chief singers in the spirlt- 
Miss Nielsen, Mb 

It should be remembered that Vienna 
when Wolf wrote was a city of preju- 
dices and ignorance. Schumann oh-] 

served this long before Wolf wrote. Itj 
is to be observed today. Hansliclc the 
most prominent critic, was an ev- >n 
fluence He never Understood Berlioz 
Liszt. Wagner, Tschaikowsky; _ he did 
not appreciate Verdi at his ful 
Concert programs were hl^e-bound n 
their conservatism when Moll vvi -• 
Head Wolf's anno-' I j| l!l1 ' ' "t’"""' 1 1 

1 . 

what a' gigantic effort !-a symphony ui, 
Mozart Bravo, Herr Kapellmeister., 
You exhibit taste, good intentions, in- 
dustry devotion, zeal, Perseverance and 

S to 

Ltzzy Sts or producing ^the yotUK 

Kapellmeister <»» of 

K ™ Burse yourself; you need res 
Go on making us happy with Dvorak 

be taken away from us forever. 

Mr Newman thinks that Wolfs news, 
paper work for four years retarded hU 
own development as a composer, by 
reason of the physical strain and the 
mental distraction. 

In this biography there is compara- 
tively little about Wolf’s miscellaneous 
compositions; orchestral chal ? ber ^ 
choral Mr Newman admits that the 
symphonic poem "Penthesilea’ is un- 
successful. Wolf was wildly enthu^tic 
over Kleist’s tragedy, but he was ra 
ly at his very best except when he had 
a poem to work over line by line. 

Those who heard Dr. Wuellncr sing 
Wolf's “Feuerreiter” here recently an 
I marvelled ' at the dramatic power 

1 of the song will be interested 
, know that Wolf also set music for 
: chorus and orchestra to Moencke s wild 
i poem. The chorus and orchestra, give 
of course more tone, substance and ef- 
fect “An excellent new effect is made 
at the first occurrence of the words 
'There behind yonder hill, see the mill 
is burning.’ where the phrase that ap- 
pears only once in the ballad Is non 
first of all shouted wildly by the sopranos 
and contraltos, and then answered soft- 
ly as if from the distance, by the tenors 
ami basses. The end, too. is much more 
impressive in the choral version than It 
is in the original ballad; the dark har- 
monies for the four voices suggest the 
atmosphere better than the single voice- 
part does, and the drum taps in the clos- 
ing bars sound very ghostly." 

Not the orchestral, choral and 
chamber pieces, not the opera “The 
Corregidor” will put Wolf securely in 
a commanding position. The songs of 
Wolf will make his name immortal, 
and Mr. Newman does not hesitate to 
place Wolf at the head of the song^ 
writers of the world. Air, Newman 


irgas the' 

[ty, elaboraldC •. Near], 
hi’s tyographV are devoted to 
the song writer. These pages 
read with great profit by 
ichers and composers. 

"W, hat 

some oiie may say, "Wolf 
song writer than Schu- 

bert?!)' Mr. Newman bids the surprised 
one t to sit down, that they may reason 
togetjher. Like Mozart, in spite of 
hcaV'/m-sent gifts, Schubert was too 
tluenil; his poetic sense was often at 
fault | he was not always careful to 
think] out a poem as a whole, and to 
give (fresh expression to a fresh emo- 
tion; , he was often contented with the 
"lazy'' strophe form, nor disturbed by 
the consequent falsification of the 
poet's meaning; he often fell Into mis- 
accentuatlons, threw emphasis on the 
wrong word. "He took up many pro- 
found poems in far too superficial a 
mood, dashing irresponsibly into the 
music for them before lie had really 
penetrated half-way to their secret. 
Tlie relation of his music with many 
poems was ivH the marriage of equal 
minds; It was not even a passionate 
llason; it was merely a bowing ac- 
quaintance from the other side of the 
street." In all these respects Wolf 
was the greater artist; he had the 
gifts that Schubert "either lacked or 
displayed only Intermittently.” He 
was poet and musician. "Schubert is 
indeed almost incomparable, singer | 
and seer In one. But. like every other! 
great musician, he has beep smoth- 
ered in uncritical adulation. Men 
write about him now according to a 
formula; they do not paint his real 
portrait, keeping their eye on the 
model the whole of the time.” 

Wolf pierced to the heart of the poem. 
He allowed the poet to prescribe to him 
the shape and color of a song down to 
the smallest details. He did not allow 
his own melodic Idea to run counter to 
the poetic thought. He did not sacrifice 
verbal sense; his manner of making 
melodic accent coincide with the verbal 
Is wonderful. Yet his melodic line seems 
natural, inevitable. Furthermore, Wolf 
gave the piano part "a significance it 
had never previously had in the whole 
history of the song.” The piano part of 
many of them seems self-sufficient, a 
piano piece; but the piano and the vocal 
parts fit together with unparalleled ease 
and effect. Mr. Newman declares that] 

Hie phrase, "Wolf is the Wagner of 
song," Is only a half-truth. 

It wns as though Wolf habitually com- 
posed a song In a clairvoyant state. H<» 
saturated himself in every poem; lie 
lived Its life completely. When the fit 
was on him, li6 would scarcely sleep, 
eat Or go out of the house for days, 
and when the songs were written, he 
would run to play them to his friends, 
laughing anil crying at the same time. 
He saw pictures when he composed. 

1' or Weyla's .Song,” he Imagined "tho 
protec ting spirit of the island of Orplld 
sitting on a rocky ledge In tho moon- 
lig.’.t. holding her harp In her handB"; 
for the second "Coptic Song,” he pic- 
tured * a banquet ^of wise men from 
every land, singing a jocund, hlgh- 
spirlte-.l song and draining their bumpers 
nt eac.. refrain." He would read the 
poem till it had taken poasesslon of him, 
not thinking: at the time what music he 
wouid write for It. He would sleep and 
Me song would come to him mysteri- 
ously, so that In noting It down the 
brain outran the pen. “The poems lit- 
erally set themselves. Wolf was only 
the expressive medium through which 
all tne deeper significances that were 
latent in the poem were made visible 
and audible.” 

This whole section of the biography 
should be read again and again by ail 
who impose, sing, teach and listen to 


m. - «• “Jnrdln™ sous la HniV” ; 

ltnrnmanlnofP, Serenade; Audor Morklor, 
Yaisc intermenso (first time »iero); Ll.«zt, 
“IjfcbPstraum," Uliniiaody No. -\ 

FRIDAY— Symphony Hall. 2 :M 0 1 *. M. Song 
recital by Mine. Stiubrleh. Frank La Forgo, 
accompanist. Mine. Semhrich will sing these 
songs: Bad). “Mein Glneublgrs Horae”: 

Paradies. “Quel ruscoHetto” ; Handel. “O 
Sleep! Why Host Thou Leave Me?” “Hall*- 
lujah” from “Esther”: Schubert. “TroeU'no 
IMutnen,” “Elfersueht mid Stolx” : Schumann. 
‘•Stille Thrnenen.” “Hoesehdn”; Bralwu*. 
“Die Malnaeht.” “Sonntug.” “Der Scbmled”; 

. Massenet. “I/Anie dea Oiseaux.” “L’Kvon- 
raU“; Strauss, “Allorseelen” ; La Forge. ••Tim 
Sheepberder.” “An Ely on Boten”; N'lewl- 
ndamski. “Ot Worz Janku”; JFoote. “There 
Sits a Bird on Every Tree.*'" 

In the Near Future. 

Nov, 12 — Svmphony Hall. 8 P. M. Harvard- 
Dartmouth Musical Clubs. 

Nov. 15 — Jordan Hall, 3 P. M. Fritz Krelg. 

ler’s second violin recital. Pieces 
by Bach. Martini, Dittersdorf, 
Francoeur, Tartini, Debussy, 
Saint -Saens, Kreisler, Paganini. 

Nov- 1C — Symphony Hall, 2:30 P. M. Serge 
Rachmaninoff's piano recital. HI* 
first appearance in Boston. Dis- 
tinguished Russian pianist, con- 
ductor and composer. 

Jordan Hall. 8:15 P. M. Sec- 
ond concert of the Hess Schroe- 
der quartet. Pieces by Schubert 
and Dvorak: Brockway’s sulta 

for 'cello, E minor (first time 
here); Ippolltoff-Ivanoff’s quartet 
In A minor, op. 13, No. 1 (first 
time here). 

Nov. 17 — Jordan Hall, 3 P. M. Song re- 
cital by Mme. Blanche Marchesl. 

Symphony Hall. 8 P. M. Isa- 
dora Duncan, assisted by mem- 
bers of the Boston Symphony or- 

Nov. 18 — Jordan Hall. Concert by John C. 

Manning. pianist, assisted by 
Stephen Townsend, baritone, and 
an orchestra led by Mr. Mollen- 

Nov. 19 — symphony Hall, 2:30 P. M. Sixth 
public rehearsal of the Boston 
Symphony orchestra. 

Symphony Hall, 8 P. M. Har- 
vard-Yale Musical Clubs. 

Nov. 20 — Symphony Hall, S P. M. Sixth 
concert of the Boston Symphony 

Nov. 22 — Jordan Hall. 3 P. M. Mme. 

Blanche Mareiiesi’s second song 

Nov. 26 — Symphony Hall. 2:30 P. M. Sev- 
enth public rehearsal of the Bos- 
ton Symphony orchestra. 

Nov. 27 — Symphony Hall, 2:30 P. M. Plano 
recital by Teresa Carreno. 

Symphony Hall. 8 P. M. Sev- 
enth concert of the Boston Sym- 
phony orchestra. 

Pension Fund Concert. 

The sale of seats for the first of the 
season’s pension fund concerts will open 
at the box office in Symphony Hall on 
Friday morning. There will be two so- 
loists, Mme. Olga Samaroff and Mr. 
Willy Hess. Mme. Samaroff will play 
Schumann's concerto for piano, and Mr. 
Hess Mendelssohn's concerto for violin. 
The orchestral pieces, lead by Mr. Fied- 
ler, will be Goldmark's “In the Spring” 
overture, Dukas’ "The Sorcerer’s Ap- 
prentice,” Wotan's "Farewell,” "The 
Magic Fire Scene’’ and the "Ride' of the 
Valkyries,’’ from "The Valkyrie.” 

The .Symphony orchestra will leave 
tonight on Its first monthly southern 
trip. It will have its regular concerts 
in Philadelphia, Washington, Baltimore. 
New York, Brooklyn, and on Monday 
night, the 15th, its first concert of the 
season in Hartford. The soloists will 
be Serge Rachmaninoff in New York, 
Philadelphia, Baltimore and Hartford, 
Charles Gillbert -In New York an<J 
Brooklyn, and Corinne Rider-Kelsey In 
Washington. The program of the con- 
certs In Boston Friday afternoon, Nov. 
19, and Saturday evening, Nov. 20, will 
include Goldmark’s “Rustic Wedding” 
symphony; Sinding’s ’’Rondo Infinito” 
(first time here), and Saint-Saens’ con- 
certo for violin. The soloist will be tile 
second concert-master of the orchestra. 
Sylvain Noack, who will then make his 
first appearance with the orchestra in 
this capacity. 

Rnglish literature is not rich In biog- 
raphies of musicians. There are biog- 
raphies enough, but the majority of them 
are merely anecdotical, eulogisticwlthout 
discrimination, or matter of fact. Mr. 
1 i lick’s “Wagner” is entertaining and 
valuable, though it was written at a 
time when Wagner was in need of de- 
tenders. and the biograpiiy now seems 

'’am^umhn 5 ’ P . oIemical - '‘Grieg,” by the 
work Thl ; 1S - an excellent piece of 
i. ' t , two have a Personal flavor 

I,'. * 1 L are written with unflagging 
(gusto. Mr. Newman's "Wolf” - is a Tvei 
Lome addition. As a biography it is 
leepiy Interesting. A s a critical review 
t is illuminative and stimulating. 

Concerts of the Week. 

i; l. ESDAY— Steinert Hull. 3 p \r i>. 

uaniH'l s piano recital Il'idvn* i 
II variations, F mini? ' Oswald’ ■■ 

t’ V ilans lV’im ' ; Moszkowski ••LeT v^’uey’- 
gW'I’in. Nocturne op. 27 y„ •» 

■ made ui> 1>lanl , s . t - The quartet is 

JxiCSDAY— Jordan Hall. p. M. First 

“fiFIioAe'’ is not extraneous; It Is 1101 
tilt educed merely t<> raise a laugh. It 
assists In characterization. We know 
these men and women better by their 
talk. No one of them la simply corus- 
cating for the evening, like n hired 
entertainer. What they say is the ex- 
pression of habitual thought and 
opinion. As The Herald has already , 
remarked, the motive and nearly all 
the stage tricks of the piece are not 
new, The exposition, the working out, 
the revealing of character by action ( 
and speech— these are all excellently 1 
ma naged. 

It Is to be hoped that Miss George 
will be seen here as Lady Teazle. It 
Is said that "The School for Scandal" 
Is rehearsing, and that Mr. Wise Is 
playing Sir Peter. 

The review of "The Servant in the 
House,” published by the Pall Mall Ga- 
zette the day after the first performance 
at the Adelphl Theatre, London, Oct. 
25. is entertaining reading. Jt begins: 
"Tbe type of dramatist which appeals 
I to us most is the man who puts all lie 
I knows, feels and is, Into his work, heed- 
less of box office considerations; and 
that is what Mr. C. Rann Kennedy lias 
! done.” The statement Is made that It 
has paid hi America and that the pros- 
! pect in London is rosy. The reviewer 
finds that the play has numerous and 
grave faults as a specimen of dramatic 
■ art. but It is the work of an honest 
! man— "a man seemingly without a spark 
of humor (not only the play, but the 
author’s injudicious speech at the end 
of the evening proved that), but filled 
with an ethical passion of some sort or 
other, and striving with all his might 
to give It coherent and forcible expres- 
sion.” Here is not a play, but a pamph- | 
1 let, a discussion. "Its characters are 
I not human, its ’lesson’ is inconclusively 
' enforced, its genuinely dramatic mo- 
ments are few and far between, Its good ; 
taste Is often to seek, and there are mo- 
ments when it Is grievously dull; but, 
through it all, we have the feeling that 
i the author is in earnest, and, as earn- 
estness is as true a virtue as prudence, 
and a good deal rarer, we wish him and 
his work every success.” 

The reviewer said of the Bishop of 
I Bbnares: "American critics interpreted 

this character in a way which we shall 
decline, for the author’s sake, to ac- 
cept. Moreover, had Mr. Kennedy de- 
sired the figure to be thus accepted, he 
would surefcr not have allowed Mr. Syd- 
ney Valentine to Impersonate it with 
an almost devasting grimness and sat- 
urnine quality.” The part was played 
here in a far different manner; with 
such sweetness and nobility that the 
surmise of "American critics” was not 

It was a pleasure to see again in 
Boston a dramatic piece that had the 
attributes of true comedy and an ac- 
tress that excells in comedy of this 
character. The audiences that ap- 
plauded Miss Grace George last week 
at the Hollis Street Theatre and en- 
joyed the situations and the dialogue 
of "A Woman's Way” were not dis- 
turbed by the worn scenery or by the 
lack of correspondence between the 
majority of the women in the support- 
ing company and the aristocratic . I 
parts intrusted to them. When the 
wife looked about her drawing room 
and regretted that she might leave it. 
for she had taken pleasure in decorat- 
1 Ing and furnishing it, the audience did 
not laugh, It did not smile. This was 
a high tribute to the spell worked by ] 
Miss George. Mrs. Blakemore was! 
admirably played and the Imperso- ! 
nator looked the part. To have 
brought on a woman who was not 
seductive would have been fatal to 
the plot. 

The dialogue of the play is conspic- 
uous for this reason: the wit. which. 

The Pall Mall Gazette did not like “the 
loose energy of dialogue which so often 
passes muster for strength in these lat- 
ter days.” It objected to the vicar's 
expression of resolve to assist in clean- 
ing the vault under the church, and to 
other “still less admirable exuberances 
of speech.” By the way, there is un- 
necessary exuberance of speech in “A 
Woman’s Way.” Is It really necessary 
to Invoke the Deity lightly, to make fre- 
quent use of "damn” and "hell" in a 
comedy which portrays life among the 
"upper classes”? It is true that there 
are some theatregoers who squeal with 
Joy whenever they hear the word “damn” 
spoken on the stage. When there is 
need of the word, let it be spoken 
roundly, sonorously, with an emphasis 
that carries conviction. As the char- 
acters employed this expletive and others 
they reminded me of the boy that 
swears at school, thinking he is there- 
fore a man of the world. 

The bad Bishop of Lancashire was 
played in London by John H Barnes— 
an excellent, ripe actor, who Is well 
known here as leading man years ago 
with Mme. Modjeska, as a valuable mem- 
ber of the Kendal company, and as a 
delightful companion. "Handsome Jack 
Barnes” was his name in younger days. 
Henry Miller took the part of the Drain 
Man. I regret to say that the Pall Mall 
Gazette added; 'And a conscientious ef- 
fort to be funny on the part of Mr Ben 
Field in the character of a comic page 
hoy, who is really little more than a 
melancholy illustration of the author’s 
proper drollery.” 

Miss Violet Vanbrugh in “The Woman 
In the Case" at the New Theatre, Lon- 
don. is obliged as Clavie Forster to drink 
a quart of champagne. It is water she 
drinks. The task was difficult at first, 
but now she attributes her present good 
health to this nightly quart. "People 
do not drink enough water.” says Miss 
Vanbrugh wisely. A contributor to tbe 
Pali Mai! Gazette, observing that in a 
play to be produced at the Garrick the 
heroine was to drink a quart of water 
every night, suggested that the title of 
the play should be “The Third Mrs. 
Tanqueray.” Thus do the English jes«. 
Miss Vanbrugh wished to portray Clavie 
Forster as “something bizarre,” so she 
wears long "patent shoes with ostenta- 
tious gold buckles revealed by a pur- 
posely short skirt.” 

Hayden Coffin, long known in this ; 
country and in England as an operetta 
singer, has appeared in straight drama 
as S'rtney Carton, in "All for Her,” 
a drama of two scenes, based on "A 
Tale of Two Cities.” The title was lifted 
from a drama founded on the same , 
novel. Mr. Coffin's performance was 

A new version of “Oliver Twist” has 
been produced at Stoke Newington, a 
I'rama in a scene or two, entitled "Bill 


Dr. Henri de Rothschild, n member 
sf the famous family, a baron and a 
physician. Is the author of a play, 
"La Rnmpe" C'The Footlights"), 
which was produced at tho Gymnase, 
Paris, Oct. 19. The hnrolno leaver her 
husband, a worthless fellow, bcause 
she Is Infatuated with Claude Bour- 

guen, a eelebratod actor, and she 
quits the company of duchesses to 
become his pupil and mistress, tjlie 
makes extraordinary progress In nct- 
ing. so that she becomes his rival 
Hus Is brought out In the second tu t 
which represents a theatre on 'the 
eve of dress rehearsal. "It I*, as one 
might suppose, an Intensely realistic 
scene. The ‘regissour’ and the ’garcon 
do bureau’ Insult one another; author 
anti actress jangle; the press Is in- 
sistent about Its seats. Claude's Jeal- 
ousy is seen In hls endeavor to get 
the author to change the denouement. 

T ho public will insist on my appear- 
ance In the last tableau,’ he says In 
a frenzy of wounded pride. But the 
author will not change It. He sees 
that Madeleine Grandier. the debu- 
tante, is rising, while Claude Bour- 
guell, t He accomplished actor, Is de- 
clining.’’ The play is produced and 
iMadelelne triumphs. Claude reviles 
[her and throws her over, but she per- 
sists in loving him. After six months 
she Is about to leave for South Amer- 
ica, and she asks Claude to visit her, 
to coach her In a final scene. Hr 
comes, and she strives for a recon- 
elllatidn. He will not have it, hut he 
will drill her in the scene, in Which a 
woman commits suicide because her 
lover leaves her. “Let me see you act 
that new ending,” he says; "yet, that 
is excellent; (hat Is a real death 
scene.” Site falls on the sofa. It is 
a real death scene, for she has taken 

Henry Bernstein fought the ridiculous 
duel with a critic because the latter at- 
tacked hls play, "La Griffe." Now this 
[ play was first performed In 1906. when 
Paris expected a revolution. Timid per- 
[ sons bought great quantities of pro- 
j visions. One man stabled a cow in hls 
courtyard to supply him with milk dur- 
ing the siege; ’’another turned Ills bath 
into an aquarium and went fishing there 
for his lunch.” Guitry remembers one 
house in tlie avenue du Bois de Bou- 
logne where there were pyramids of 
canned flsli and fruits, barrels of flour, 
strings of hams. "The family is still 
eating canned beans twice a week.” 
Nevertheless, ’’La Griffe” was then 
played 66 times. Bernstein wrote this 
savage satire on political manners and 
morals when lie was 20 years old. and 
waited 12 years before It was produced. 

Four of the late Mr. Oscar Wilde's 
plays, "Lady Windermere’s Fan,” "A 
Woman of No Importance,” “An Ideal 
Husband," and hls masterpiece, "The 
Importance of Being Earnest,” the wit- 
tiest and most artistically perfecl farec 
in the English language, have been 
added to the new edition of the author's 
works which Messrs. Methuen are issu- 
ing in 5-shllling volumes, and make the 
most delightful reading. It is the fashion 
in certain quarters to speak of the in- 
tellectual drama as though, by reason 
of its intellectuality, it had necessarily 
to be gloomy; yet, If "The Importance 
Being Earnest" and some of Mr. 
Shaw’s comedies are not intellectual, 
then nothing intellectual lias ever been 
written for the English stage— and it is 
impossible even to read them, much less 
see them adequately acted, without 
laughing over them again and again.— 
Pall Mall Gazette. 

Florence St. John made her reap- 
pearance in London at the Strand 
Theatre in “The Merry Peasant" Oct. 
22. The music by Leo Fall Is said to 
be neat and crisp, but the story 
"proved to be dreadfully thin and un- 
convincing, neither had it the merit 
of providing much opportunity for 
I amusement of situation or dialogue.” 

I Ac Austrian farmer has given Ills son 
a good education, and the result Is 
that the boy Is ashamed of him. The 
son falls in love with the daughter of 
I a general, and when the truth of par- 
entage is disclosed the general re- 
j fuses the suitor, but accepts him 
when he learns that the farmer had 
befriended bis own grand-daughter, 
who had been reared In obscurity In 
the Austrian village. Miss St. John Is 
norv 55 years old, 

Oswald Stoll, the London manager, ; 
running over the continent In search i 
of attractions for hls halls, was Im- 
pressed chiefly by the ballet In the 
Opera House at St. Petersburg. They 
have for years taken the ballet seri- 
ously In that city, and an audience 
will sit for over three hours seeing I 
uninterrupted dancing. "You could I 
have heard, hut for the strains of the ; 
orchestra, a pin drop, so hushed w.<s ' 
the attention of the spectators. * » * 
Never have I witnessed such exqul- ' 
site arid beautiful dancing. Wha: 
struck me, perhaps, more than any- 
thing, was that every performer, 
down to the humblest coryphee, was 
1 an artist, quite capable of playing th 
most onerous role.” 

Mr. Stoll argues that, as the three-, 
omic opera grew out of the on 

operetta (this may be disputed, but i j 
never mlndl. so out of the one-act play J 
mav spring: the three or four-act drama: 
therefore music halls do good work by | I 
encouraging sketches, and they provide ] 
a nursery for the young dramatist, “It | 
wdl be retorted, possibly, that, stimu- | 
lated by our success, we variety man- 1 [ 
ageis will soon be stasing full-grown I 
plays. That, on the face of it. is ab- I 
turd: the conditions we work under ren- 1 
der it impracticable. Experience teaches 1 
that it Is impossible to maintain the I 
tension required of our audiences for | 
more than, let me say, 40 minutes. It Is L 
further contended that our action in this J 
relation must lead to an increase in | 
salaries. I do not for a moment believe I 
so We are business men, and you may 
take it from me that we shall not pay a 
penny more for anything than what we 
consider to be its just value." 

In his opoinlon. the audiences on the 
; continent are more easily satisfied than 
those in London in regard to the cost 
of productions. 

This passage in Henry Arthur Jones’ 
pamphlet "The Censorship Muddle" 
i may well provoke discussion: "Ruskin 

notices this obscene tendency in some 
English writers. He compares the dif- i 
ference between Dante and Shakespeare j 
in this respect, and asks us to observe ! 
how. while Dante's high bearing frowns 
at the foul jests and talk of coarse 
people. Shakespeare seems to take a ] 

[ delight In listening to them and copy- 
ing them: and he notes how Chaucer 1 
also, in an atmosphere as wild and j 
I sweet as an April morning, does yet ' 

1 often stoop and sniff at these unpleas- 
i ant odors and ordures with delight. 

That is to be regretted. But Ruskin 
[ says very pointedly: ’You will find a 

| strain of this coarseness in all the 
; greatest English writers: it is one of 
- the marks of the true English spirit; 

I you never get the richest fruits of Eng- 
[• irsh literature without these weeds.’ So 
the rest of them may claim that, ac- 
| cording to Ruskin. they are merely a 
I our Mr. Smallfilth and Mr. Leerit and 
I rank outburst of the true English 
K spirit." 

Glasgow has depended for years, like 
^ other provincial towns, on visits of tour- ] 
i' ing companies with plays from London. 

I Last spring the Glasgow Repertory 
I Company, the only resident company of 
[ actors in the city, took one of the three 
( chief theatres, “for the production of 
j plays aimed at a higher level of intel- 

I ligence than could be reached under the 
P' system that has hitherto prevailed." No 
•lone capitalist or enthusiastic amateur 

I I is behind it. There is a limited liability 
T ' association, and the members are al- 
| 1 most all citizens of Glasgow. An ad- 
I vlsory committee consists of university 
1 men. professional men, merchants, man- 
!• ufacturers. "There is no great enthnsi- 

I asm in Glasgow about a Scottish thea- 
! tre. Glasgow men prefer to see Eng- 
I lish plays. Scotch writers are too sen- 
Itimental for the Scotch: they have to 
go to London. The management of the 
Repertory Theatre did in fact discover 
a Scotch author at the beginning of 
this season, but Glasgow received his 
1 plav without enthusiasm; its local 
origin and color did nothing to help it; 
i it was snapped up by a London man- 
ager.” The two successes of the year 
have been Shaw’s "You Never Can 
Tell" and “Arms and the Man.” “It 

I s all very well to talk about the pop- 

I ularltv of’ Euripides in London, but the 

II fact is that his plays kept their heads 
■ above water only by being judiciously 
Kan Iwiched between Mr. Shaw’s eome- 
Idies and something of the same kind 
|l° iappenlng at Glasgow. The sus- 

B o' don intrudes Itself that this Is per- 
U ha os not part of an Intellectual nnove- 
I mem at all bu' merely a personal sut- 
lr cess' for Mr Shaw. But . it is not so 
f Hr Shaw’s function is rather like that 
I of the man with the drum outside tnc 
" booth at a fair-lie brings the people in 
[ once tliev are in in Glasgow at any 
l I . e lhe> n.cten to the rest with a pro- 
' found and discerning attention. Even 
t -it delightful but difficult .plaj 
B Granville Barker’s The Voysey Inner- 
Zl'T^nr**’ wau a popular success last 
lUnonth (September).” Tcbckhof’s “Sea- 
m. I V H] produced at the theatre 

month "The -enterprise Is still In 
hr experimental stage; It has to- prove 
. „ f a commercial as well as an artistic 

am and? Cleveland were] 

among those who appeared. Joseph Jef- | 
ferson, the grandfather of the late Jos- 
eph Jefferson, the 'Rip Van Winkle' of 
our day, acted a ‘minor character.’ ac- 
cording to the newspapers. Ills part 
was that of Mnstnchio, a sailor, mate 
of the ship, a character interpolated by 
Dryden. This was probably Jefferson's 
second appearance in Boston, his first i 
having been as one of the witches in 
'Macbeth’ two days earlier. Tile Dryden 
version of ‘The Tempest' was printed in 1 
HiTO. so that it was more than a century 
old when Bostonians first saw it. and 
shows the tenacity witli which the stage 
clung to Shakespeare’s plays as some 
ont else wrote them. J. B. C." 

has received the follow 

"Boston. Nov. i. 
dif or of The Herald: 
erc-iting account in last Sun- 
,i ,if the early performances 
•rnne-t' in this country may be 
,tr i bv a few words regarding 
performance of the play In 
ft was at the. original Boston 
ihc beautiful building designed 

■ n that ’The Tempest/ as al- 
Dryden and credited to him, 

-cen by our playgoers, the date 
•c 2S 17&5. ‘Lo Foret Noire' 
afterpiece. The cast of the 
play contained the names of 
tn> b»st players then on the 

■ stage" The part of Prospcro 
e- by Ha'ilam, with Mr. and 

.. r ,.pec»| V ely 'as Gonzalo and 
Harper as Trlnculo and 
. Ariel. Mr. Kenriy. Mr. 
'!• Hughe*. Mr. Prigrnore, 


The Boston Opera House will be 
dedicated tomorrow night by the 
performance of an Italian’s opera, 
an Italian who was the teacher o | 
the most distinguished composers 
now living among his countrymen, 
composers that have sought above 
all to be truthful in dramatic ex- 
pression. It is eminently proper tha.. 
the first opera in the handsome, 
commodious, admirably equipped 
building should be by an Italian. 
Opera as a form of art was invented 
by Italians; the most glorious tradi- 
tions of opera are Italian, and Wag- 
ner himself, while he warred right- 
eously against their debasement and 
the preposterous claitjis and baleful 
influence of Italian vocal virtuosos, 
nevertheless recognized fully the 
beauty of "bel canto" and the tri- 
umphs of Italian art; furthermore, it 
was an Italian company, the Havana 
troupe, forme*! by Marti, fishmonger 
and impresario, that sixty-two year.^ 
ago at the Howard Athenaeum ac- 
quainted Bostonians with the beauty, 
the passion, the fire of Italian oper- 
atic works. The enthusiasm that 
then blazed has not cooled through 
the years that have seen shifting 
forms of the art and daring innova- 
tions. "Tristan and Isolde" and 
“Pelleas and Melisande” have been 
heard and duly appreciated. The 
great Boston public has been con- 
stantly loyal to the Italian school. 

Mr. Jordan at last knows the sub- 
stantial realization of a purpose long 
entertained, and in his life he sees a 
monument that will preserve his 
name among his fellow-citizens. 
Architectural skill and taste have 
shaped and furnished this building 
so that it is an ornament to the city 
Is well as a home in which opera 
may be most advantageously dis- 
| played. Mr. Bussell, the director, 

I and his associates intend to give per- 
formances of general and well- 
rounded excellence, performances in 
which there will be the utmost at- 
tention to matters of ensemble and 
detail; not performances in which 
one star will blaze, lonely in the 
blackness of surrounding darkness; 
not performances in which a bril- 
liant aria will be offered as an ex- 
cuse for an inadequate cast, shabby 
scenery, incongruous costumes; but 
performances which in artistic com- 
pleteness will rival those in the sub- 
sidized opera houses of the larger 
German cities. 

The opera house, the singers, 
chorus and orchestra, scenery and 1 , 
costumes — these are now established 
facts. The support of the public has j 
I been generous. It remains to be seen 
I whether this support will be contln- 
uous, permanent; for of course there 
j can be no permanent opera without 
j permanent support. The success of 
j this admirable scheme will mean 
much to the city of Boston. This city 
j., justly proud of the Symphony or- 
chestra. May it also take pride in 
its Opera House! May it see clearly 
that an institution like this gives dis- 
tinction to a town; that it Is a factor 
In commercial as well as aesthetic 
j growth and development! The 
founder of the Opera House with his 
! associates has faith in the city and 
* its inhabitants. By faith the build- 
ing that will be dedicated tomorrow 
r.lght was conceived, and by faith it 
rose, was completed and equipped. 
May the people of Boston have like! 
faith and work together for main- 
j tenance and fruition! 


Mr. Herkimer Johnson came into the 
office Friday, sat down without sayingj 
“Good morning” . or removing his hat 
from his head, and he sighed. At last 
after a few conventional remarks he 
said that he was low in Ills mind. 
Thinking to cheer him and at the same 
time pvovide material for his colossal 
work of a sociological nature, to nhiich 
I we have referred several times in the 
course of the last six years, we handed 
newspaper clippings to him. He looked 
at them with lack lustre eye. 

One was an account of the beating 
of Bessie Scully by her husband because 
she had been feeding him on pig’s head 
for many weeks in spite of his argu- 
ments and remonstrances. “But that’s 
not all.” said Mr. Scully to Magistrate 
Corrigan of New York. “The other day 
my wife said that I buy her a bowl of 
goldfish, although there wasn’t a fresh 
ham sandwich in the house.” 

Another clipping told of Mrs. Mayer's 
petition for divorce. It seemed that one 
| night Mr. Mayer of Carlstadt was so 
displeased at the sight of ham and eggs 
1 for dinner that he left the house and 
did not return until the following Tues- 
day. She was no Mariana in the moated 
grange. In fact she was not expecting 
him, and there was nothing ready fori 
supper, but her mother finally brought 
in ham and eggs. Mr. Mayer again left 
his hearth and bed and said he would 
not return on a ham and egg basis. 

There was a clipping headed "What 
Makes Women Homely?” There was orfe 
discussing the question whether in Eng- 
land a green grocer or a fruiterer is 
higher In the social scale. Another de- 
scribed the historian Lecky writing as he 
kneeled on a sofa because his head was 
magnificently large and his neck long. 
A clipping began, “Somewhere in the 
heart of untrodden Dutch New Guiana 
is a primitive animal unnamed by sci- 
entists; very large, striped black and 
white, with a nose like a tapir and a 
face like a devil.” Mr. Johnson mur- 
mured somethirig about the duty of Mr. 
Roosevelt to visit the region. The last 
clipping gave the reason why Mr. S. W. 
Vannostran was adjudged Chicago’s 
model husband at the second annual 
Chicago Hubby Show. 

boys come home, and all their talk 
about the curves of Bill Jones, the] 
drop kick of ‘Stodgy’ Perkins, thfel 
oarsmanship of Mika Burke, how far 
Harry Somebody can jump and -the 
chest measurement of old Snooks' 
eldest. I asked one of them what 
were the duties of a Roman tribune 
and whether lie were elected or ap- 
pointed. He muttered something 
which I did not catch, but his brother 
snickered, and I concluded that the 
rfeply was irrelevant, If not Imperti- 
nent. I do not speak about danger to 
life and limb at football. A boy 
should not be a softy. When I was 
at school we took boxing lessons — an 
invigorating, useful exercise, but we 
did not train for a mill with seconds, 
bottle-holders and cameras. There 
was no gymnasium, but we were all 
in good physical condition. The high- 
stand men were the best at baseball, 
but they did not give their whole 
mind to -the game, and they were 
honored by us, not because they were i 
skilful batsmen and swift pitchers, 
but because they were high-stand 
men and good fellows. The boys do 
dot study enough today. In ilieir 
efforts to build up great schools the 
principals and trustees put confidence 
in athletic prowess. The body, not 
the mind, is disciplined, and there are 
false ideas of what constitutes manli- 

“Do you ever visit your old school, 
Herkimer?” "No, I do not have the 
time.” “Have you ever written your 
protest as a graduate?" “What would 
be the use? They’d call me an old 
fogy.” “But why are you so hot in 
the matter?” 

"I remember when I think of the 
future of my little Jonas. I wish htm 
to be educated thoroughly.” 

"But your little Jonas is only a few 
months old.” 

Mr. Johnson’s eyes flashed with pa- 
rental pride. “He’s precocious. I 
don’t think I ever saw so intelligent 
a baby.” 

A smile flickered for a moment over 
Mr. Johnson’s face. “At another time I 
might talk on these subjects. Will you 
allow me to take the clippings with me? 

To tell you the truth I am upset. I 
received yesterday a pamphlet from a 
school which I attended in my youth, 
for though you may be surprised to 
know of it, I have enjoyed the advan- 
tages of a classical education. Now 
in this pamphlet there were over half 
a dozen pages devoted to footbaU,,base- 
ball, track games— dash, hurdles, run- 
ning for various distances, putting the 
shot, jumping, pole vaulting, hammer 
throwing, etc. There were appeals to 
graduates for contributions so that, 
their old school might defeat some other 
school, not In scholarship, not in manly 
behavior and honorable thoughts and 
conduct, but in throwing a hammer, 
conquering a.t football, etc. These ap- 
peals were almost hysterical. The honor 
of the school, It seems, is at stake. In 
the same pamphlet there was an elabor- 
ate argument why athletes should come 
to this school rather than go to an- 

"How different it was when I was 
there. We played baseball — but class 
against class. We played football — 
that Is, all the fellows kicked the 
ball, and once or twice a year class 
would line up against class. There 
was no training for these harmless, 
usually impromptu games. We were 
at school for two things: to learn 

Latin, Greek and mathematics; to be 
trained In ideas of decency and honor. 

I remember that, although, like most 
healthy persons. 1 was constitution- 
ally lazy, I studied at night till 10 
o'clock, and 1 often got up nt 5 or 6 
in tin* morning to study. When I left 
the school I knew much more Latin 
and Greek than when I left college. 

I admit that I picked up Horace the 
other day arid had hard work read- i 
ing an ode, hut I still remember that 
a noun used as t lie limit of motion is] 
put in the accusative, and that quod 
quia, quoniam and quando take the 
subjunctive to assign a reason doubt- 
fully or on another’s authority. The 
habit of translation, my boy, made 
us careful In our choice of words and 
in the formation of sentences when 
wc came to write compositions in 
English. I still believe in the en- 
forced study of Latin and Greek, even 
though the Greek letters now look 
queer to me, and all I can quote is 
1 he favorite gag of Xenophon, begin- 
ning: 'Enteuthen exelaunai,’ and the 

line from Homer about the loud re- 
sounding sea." 

Mr, Johnsoh was out of breath, but 
h.: soon got his second wind. "Wlmt 
an absurd importance is put on ‘ath- 
letics' in our schools! My jreiglibor s 

, / J O' 

“La Gioconda” Good 
Choice for Opening 
of the Opera House 


ry Russell, director was dedicated last 
night by a performance of Ponchielli’s 
“La Gioconda.” Mr. Conti conducted. 
The cast was as follows: 

I,a Gioconda Lillian Nordlca 

Laura Louise Homer 

La Cieca Anna Meitschlek 

Rnzo Florenelo Constantino 

Barnaba George Bulilanotf 

Alvise GiustO Ntvette 

Zuane Attilio Pulcinl 

Jscpo C. Stroesco 

The occasion was a memorable one. 
There was not only the pleasurable ex- 
citement that attends the first perform- 
ance of any operatic season, but there 
was the realization of the hope that to 
many seemed an idle dream, a realization 
brought about by the public-spirit and 
generosity of Mr. Eben D. Jordan, by 
the enthusiasm and untiring energy of 
Mr. Russell and by the prompt financial 
support of the people of Greater Boston 

The Boston Opera House is no longer 
a dream. At last there is in this city 
a handsome building devoted exclusively 
to tho production of opera by a com- 
pany, not visiting, but dwelling. At 
last there is a building, artistic in de- 
sign, structure, ornamentation, equip- 
ment, In which the spectacle is not 
through necessity only on the other side 
of the footlights; for there is at last an 
opportunity for the display of fair wom- 
en in gala costumes which in an opera 
house adds so much to the brilliance of 
the scene and the performance; which 
gives to opera a certain and, if the word, 
sadly abused, may be allowed, . an 
aristocratic distinction. For, however 
much opera may be enjoyed and appreci- 
ated by all, the fact remains that grand 
opera in Its full sumptuousness and mag- 
nificence, always has been, is, and un- 
doubtedly be until the world is known 
as Utopia, the entertainment of all en- 
tertainments for society, whether this 
society be hereditary or self-constituted, 
whether it consist of titled and ennobled 
families, or have its origin and existence 
only in the power of wealth. 

An occasion like this calls for general 
i remarks rather than for detailed critic- 
ism of individual singers, chorus and 
orchestra. The management has stated 
that It is the purpose of those in au- 
thority to give performances of general 
excellence rather than to depend on the 
popularity and box-office draught of 
any one bright, particular star. This is 
as it should be. It Is to be hoped that 
the public at large will see the reasona- 
bleness of this purpose. The public 
should also remember that the estab- 
lishment of an opera house Is not the 
work of a night or even a year. There 
are always trained and capable singers 
jin the market, but chorus, orchestr' 


| +■ 

A "4 a z ~-ar