The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-05-30

| lie Figaro says: "The Paris Opera-house Is
| going to give the fourth representation of
| 'Tannhauser.' The three first took place on
the 18th March, 18th March and Oath March,
1861. This entr'acte of thirty-four years and
two months has not seen the work of Richard
Wagner fall into oblivion, and even at the time
never did an opera make SO much commotion
as this one did when it fell. There have been
falls of empires which did not excite SO much
| talk as the withdrawal of 'Tannhauser' from
the boards of the opera-house thirty-four wears
| ago." In long article LIE Figaro resumes all
/, that was said against "the music of the future"
as exemplifed in 'Tannhauser'' when 1t was
| produced in Paris in 81. The Figaro's own
critic said of Wagner's music, 'It is a great
| ocean OF monotony; gray, despairing inflnity
from which one hears the mournful shrek of
| the seven notes of the scale from beginning to
end of the score" Some of the other criticisms
were terrible. Berlioz had not the courage of
his rancune. He passed the pen to his friend,
Joseph d'Ortigue, who had the good taste to
give ''Tannhauser'' less unbridled abuse than
the rest of his confreres did. But that was
| thirty-four years ago. The taste of the French
critics has veered completely round since then,
and to-day they are ready to bow before "Tann-
| hauser."
| The Marie Tavary Opera Company, which is
I playing in New York, has proved successful in
| drawing large and enthusiastic houses in spite
of the heat. AS usual, Thea Dora has proved
| the star of the company, the critics pointing
| out that there Is q singular resemblance be-
| tween her methods and those of Emma Calve.
The New York 81 erald says: 'Thea Dora gave
q Calveesque impersonation of Santuzza which
was extremely effective. Later in the week
she appeared as Carmen, again taking the
| famous French singer as her model, and scor-
ing as big q hit as has been made here in Eng
| lish opera for several years."
| The truth of the matter is that Dora does
| not initiate Calve, and the similarity in the
methods of the two divas lies in their mutual
| admiration for that fount of dram attic inspira-
tion-Elenora Duse. Calye frankly owns that
she never tried to act till she saw Duse and
Dora studied with master of the old Modena
school of acting and was taught to regard Duse
as the greatest exponent of that school.
| An incident that reads like romance, but
| that is well authenticated occurred on the 10th
inst, at the Hotel Continental, in Paris. A
fashionable concert was being given under the
direction Of NJ. Danbe. The popular tenor
Lafage was to have opened the programme.
When all the musicians had taken their places,
word was brought that the tenor could not ap-
pear, and his number was about to be sup
pressed, when M Bailly, one of the viola play
ers, whispered to the conductor that he was
willing to replace the sick tenor. NJ Dandy
ordered his musicians to lower the piece a
tone, and in superb basso cantante voice, NJ.
Bailly interpreted the aria from Mehurs
"Joseph, that the tenor should have sung 1t is
announced now that NJ. Bailly is going on the
operatic stage, and 1t was his success at the
concert which caused him to decide upon what
the critics say will certainly be a brilliant
career.
Emma Calve was to have sung the leading
role, at the Paris Grand Opera-house. in the
new opera "Guernica," but she has been i'll
for some time and her progress toward conya-
lescence is so slow that the role has been re-
luctantly confded to Mile Lafargue. Some
people say that Emma CalVe will never he a
well woman again.
AT the Opera Comique Masses "Les Noces de
Jeannette" has received its thousandth per-
| torrance. There was brief pause when the
work was concluded, and then, amid great
applause, the curtain rose again, showing the
Dust OF victor Masse, while grouped round
were the principal interpreters of his work
VINO reclted verses in the composers honor,
composed for the occasion by Jules Barber.
| The Metropolitan Musical Society has not
seen Its way to paying pensions during the
| summer to Fritz Scheel's soloists as retainer
LOT their services next winter, nor does there
seem any prospect of the summer series of con-
certs taking place. This being the case the
soloists are already beginning to seek fresh
nelds and pastures new. On the 18th of June
| MI and Mrs. Marquardt will sail for Australia.
Their loss will create great gap in the ranks
| OF the Scheel orchestra, as Herr Marquardt was
a useful soloist in addition to being an able
concertmaster, and Mrs. Marquardts harp solos
were one OF the attractions of the organization.
suggestion has been made in London that
| the singing students of the Royal Academy of
| Music, Guildhall School of Music and Royal
Coiie9a OF Music should take part in the opera