Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1885-02-07
MUSIC AND DRAMA.
CONCERNING S0HE OF THE
WORLDS GREAT SINGERS.
Mary Anderson as Juliet-Patti's
Expense BilI-The Season in
SacramentO-Etc.
MARY ANpERsoN's JULIET.

And Miss Mary Anderson? Well, a
,prettier girl than she looks when she APP
pears in the ballroom | have rarely seen,
and she dances with wonderful grace. IT.
however, we are to estimate her acting by
any high standard, le plumage udm plus que
Ie ramage. To act Juliet up to a point is
not difficult for any one who has had some
stage experience. 1t has been performed
so often, and by SO many excellent ac-
tresses that there is vast mass of accum
ulated traditional stage business, which
enables almost any one to play it with
certain amount of effect, provided that she
looks the part Above this level Miss
Anderson's impersonation does not rise.
She acts Juliet without being Juliet She
entirely fails to convey the impression that
she is in love, or that she is prepared to
risk her life rather than marry any
one but Romeo. Her love, her fright,
and her despair are those of doll
rather than of a woman with flesh,
blood and soul. Her "etiects" re-
mind one of the trick performances Of a
circus; and even if criticised from this
somewhat humble standpoint, they are, as
whole, defective. After each speech or
sentence, she stands for 4 moment in an at
titude as though she were being photo
graphed She has two voices; her natural
one seems to be soft and winning, but
even when using this voice she empha-
sizes far too much, whilst she aiternates it
with deep, harsh notes, which apparently
is her mode of showing emotion. In the
scene where the Nurse leads her to believe
that Romeo is dead she becomes a Meg
Merillies. and shouts and bawls in a some
what tempestuous fashion. So, too, when
she is about to take the potion, no faint,
cold fear thrills through her veins; :" there
is no shrinking and horror at :" the terror
of the place" Juliet lapses into a ranting
virago, who seems prepared to fight it out
with her ancestors ghosts if they disturb
her in her family vault, and she ends the
scene by a sensational back-fall over the
side of the bed, which brings her head to
the place where her feet ought to be, and
which can only be recommended as an
acrobatic feat London Truth.
WHAT IT COSTS PATTI TO LIVE.
Patti makes good deal of money and
she spends great deal. At the rate she
lives it must cost her something like $780,
coo year. She has 4 retinue of people
and large suite OF apartments at the
Windsor Hotel-private table, of course
and her own Chef, whom she brings with
her. Then she has a castle in Wales to
! keep up, and that is an enormous tax upon
her income Even when she does not live
there she has ten or dozen people taking
care OF the house, and as many more on
the place. The castle itself is as large as
small hotel. 1t has forty-fiye furnished
rooms besides other rooms that are not
furnished. 1t is within Of Patti to
keep up this place, and she has
enough money to indulge herself in
expensive whims. Besides the money
that Patti earns, she has 100000 that
can never be touched at least the prin-
cipal cannot be touched; she has the use
of the income, ofcourse But this she does
not lay much stress upon. The income of
100000 is a small item to a person who
makes as much money as she does Chris
because she has more laid up and better in
vested than is PATHS money. The castle
in Wales, which represents a little fortune,
is an expense rather than an income. All
the money that Christine Nilsson has in
real estate brings her in a good round in
terest. Then Nilsson is thrifty. She
spends very little money compared to Patti.
1t is hard to say which is the wiser-the
one who spends as she goes or the one who
lays up her money. Patti viii always
have that $200,000 to fall back on, so she
saves very little of earnings. There is no
/ one to come after her except Nicolini's
/ children, and to those she is very liberal
now Philadelphia Record.
COST OF THE PARIS OPERA.
In view of the recent appointment of a
new manager of the Paris Opera, the fol-
lowing figures, showing the receipts and
expenses since the new opera house was
opened, in 1875, are Of no little interest
In the year 1915 so much curiosity was
felt as to the new building thai the re-
ceipts amounted to el72,198, or upon the
average, ESQ a night, and the expenses TO
GAG, l35, leaving a clear profit of E260G3
| In 1876 the receipts were Gl70,S66, or
$500 a night and the expenses G156,12I.
! leaving a net profit of $685. including a
masked ball, which produced $500 In
| 1877 the receipts fell TO el64,SI4, or $3.50
a night, while the expenses were gI56,525,
leaving profit of only SO, 289 In 1878,
the year of the last Exposition, the re-
ceipts went up again to GlS3,340, or G762
q night, and the expenses were Sl75,555
leaving a net profit of nearly & ,S25, nearly
all Of which was realized by four masked
balls. No figures are given for 1879, the
year in which the management was trans
ferred from NJ Halanzier to the late NJ.
! Naneorbeil but in 1880 the receipts were
el64699, and the expenses G164 1891, leav-
ing a net profit of only f60S which would
| have been converted into a deficit of over
$1,000 but for the result of four masked
balls. In 1881 the opera showed slight
improvement, the receipts being elGS,S 81
and the expenses GI62, POI, leaving a net
profit Of EG,S64, but there would again
| have been a considerable deficit but for the
masked balls. In 1889 the receipts were
el64, 264 and the expenses el69, 499, show
ing a deficit of $3.50, in spite of the fact
that the masked balls had brought innearly
/ e8,000. Last year the receipts were e156,-
( 49S and the expenses Gl60,6 SS, showing a
deficit OF q, 1876, while the deficit for the
/ first ten months of this year is already
more than el6,000.- London Times.
/ SECRETS OF SINGERS.
/ Some Of the secrets of operate life were
revealed in Court in New York recently
as told by one Of the papers of that city
1t occurred in the suit brought by Nine
! Scalchi against Henry F. Abbey to recover
! 81 ,3S3, withheld because She refused to
sing in The Prophet at q matinee on Il
notice of an hour and Il half Nine
/ Scalchi had only just breaktasted, and de-
clared her inability to sing so exacting a
part so soon after 4 heavy meal Miss
Clara Louise Kellogg appeared in behalf
of her sister artist. Her testimony was as
| follows:
How long have YOU been upon the op-