The record-union., 1896-08-09

tne musicians, III OrueI lHdl tiSJ
might keep together, eventually agreed
to follow the slightest indications of
time which the concertmeister gave
them, and not to attend to Beethoven's S
conducting stick" Every amateur
knows, moreover, that until compara-
lively recent period, the conductor him
self played violin or sat at the piano,
to indicate the tempo. Sir George Grove
thinks Spohr was the first to use bat
on, at Philharmonic concert in 1920.
There is, however, a tradition that Hen
rich Albert used conductors stick in
Germany as early as the first half of the
seventeenth century.
Sprightly Nellie McHenry will ap-
pear in new comedy by H. Grattan
Donnelly next season, called "a Night
IN New York" 1t will have a very
handsome production. The scenery has
been painted by James Young of the
Broadway Theater. The supporting
company will include John Webster,
James B. Delcher, Charles Morrison,
Charles Eastwood, Joe Sparks, Harry
Crossley, George Hayes, Robert Cow
erdale Miss Henrietta Lee, Miss Fran
~C4OOAA9y
Miss Rosa Crouch. The initial perform
ance will be given on August Goth at
the West End Casino, Long Branch.
= y
Bancroft, the magician, is the only
one in his calling of American birth.
He was born in Minnesota, where his
family now reside in a magnificent
home. Adjoining it is a large and
elaborate workshop, in which he studies
cut and makes the varied intricate
mechanism used in his performances
Bancroft's love for his art became a
passion with him at a very early age.
In the Patent Office at Washington
are three devices invented by him
when he was scarcely out of his teens
From these and other inventions made
since then he draws a handsome in
come in royalties. The art of magic
has always been a subject of serious
study with him. He devoted not less
than twenty years of research in magic
before he decided to adopt it as a pro-
fessional calling. Generously endowed
with ingenious American ideas, he de-
termined at the outset to depart as
far as possible from the stereotyped
style of sleight-of hand performances
and to combine elements Of dramatic
interest with his exhibition. The idea
was novel one, and the instantaneous
success which he achieved last season
proved that his judgment and conf
dence in the new style of magic art
were abundantly justified by the sub
stantial results which he obtained
yroc rcoaptJx, 10
transmit by telephone to London Ru-
verney's new opera, "Helle," performed
at the Grand Opera-house In Paris
By means of the telephone cable con-
meeting Calais and Dover, through tel
ephonic communication was established
to the Pelican House, London, where,
by means Of the electrophone, form
Of loud-speaking telephone, it was pos
s:ble to listen to the opera as per-
formed in Paris. The first trial was un-
successful, owing to the state of the
weather, which seriously disturbed the
line. A second attempt was made, how
ever, on another evening, when it is
claimed that the sounds, though faint,
were clearly heard, particularly NJ. Del
mos and NJ. Alvarez, the tenor. The
female voices were not so distinct The
violin accompaniment Of the orchestra
was faint while the bass and oboe Sc
lections were heard very distinctly.
Boys Together" the new melodrama
by Haddon Chambers and J. Comyns
Carr, will be produced in the London
Adelphi Theater early in September
William Terriss will be the hero and
Jessie MilWard the heroine
a Paris paper relates the following
anecdotes of the famous opera COM
poser, Auber. He often said that he
would give all the laurels of his later
years if he could be restored to youth
Once, when old age was under discus
sion, he exclaimed: Yes, it is an
noying to grow older day by day, but
so far no other way has been found
of living long" One evening, at
soiree, King Otto of Greece said to him:
Il hear you have written another
opera" ST confess 1 have been so in
discreet" was Auber's answer. When
he was a very old man he attended the
funeral of a friend. On returning he
remarked to his companion: Il fear
this is the last time OF my going to a
funeral as an amateur"
1t is reported from Berlin that the
German Emperor, who is a great lover
of music and the drama, has raised the
annual subvention granted to the royal
theaters, for opera and drama, to an
even million marks $3.50 000). If we
bear in mind that this sum may be
looked on practically as the deficit re-
la.
d better comprehension of the difficulty
of giving opera at the Metropolitan, and
the folly of undertaking any kind of
opera without a liberal subscription by
royalty or wealthy stockholders.
It was an odd coincidence that Lon
don should have its operate crisis near
ly at the same time as New York, the
death of Sir Augustus Harris following
SO closely on the heels of the New York
managers failure. London is, indeed,
confronted at the possibility of having
no opera-house at all in the near fu-
ture. Mr. Faber is willing to sell Coyent
Garden. in order to enlarge the market,
as fruit statesmen are able to pay higher
rents than operate managers, and it is
said that the only thing that has pre-
vented the Duke of Bedford from buy
ing the property for that purpose was
his warm admiration for Sir Augustus
Harris.
The ups and downs of operatic life
are illustrated by the fact that Sir
Augustus Harris lost $50 100 on his
first season with the De Reszkes, but
won it all back the second, while dur