The Indianapolis journal., 1896-10-13

triumpha pathway of foreign artists far too
long. The time is ripe for radical change
Let IT be made.
Ihe opposltlon TO the engaging of foreign art
lists to the almost absolute exclusion of Amer
leans, and the paying OF those artists enormous
prices. is being led by number of infiuen-
showing that the Reszkes. Plancon, and in fact
all the artists in Mr.: Graus troupe receive less
than one-third at Covent Garden, London, of
what they receive here.
on the continent they are content to take one-
fourth Of this sum they demand here More than
that these singers are determined to keep their
Of the ed This is the state Of aars today
in this country, and patriotic Americans sit
that was ever perpetrated upon an intelligent
public. The difficulty of insttuting any reform
lowing which viii sacrifice lis own pleasure for
the purpose of what eventually will be a ma
the writer that the condition Of affairs was
perfectly appreciated in the metropolis, but that
the smart set wanted opera, and would not
be content with any artists but those who were
When Mrne Nordica appeared in New York she
had arrayed against her. because she was an
tom. She entered the contest however. with her
Yankee determination aroused, and she proved
concIusively by climbing to the very pinnacle of
public fame that she not only artist
but likewise possessed Temperament" The lat
European endowment until Nordica and Earnes
completely dissipated this popular fallacy.
The first step necessary to begin the opposition
is organization. and it is for this purpose that
the musical press, patriotic musicians and the
system system ''e ~S'>'N : - --N''' '' "''''0
Famous "Corsican Brothers" Duel.
Disraeli. in his History of Dueling,'' tells of
many interesting combats that have taken place
on the field of honor, but the most thrilling
duel of all is that which was fought between
Fabien del Franchi and Chateau Renaud In the
forest of Fontainbleau. 1t a duel to the
death. and fought with ordinary short
swords. After a number of thrusts and parties
the sword of Renaud was broken, and this it
was thought, would end the fight but del
Franchi not willing to be thus cheated of
his revenge and taking firm hold of his blade,
he snapped it in two over his knee, and grasp
ing the pointed end, he ordered his adversary
to stand ready for his attack. The fight now be-
came thrilling hand-to-hand encounter. and the
personal strength of the contestants was put to
the test Like tigers ready to spring upon their
prey stand the two swordsmen, each intuitively
knowing that an unparried thrust means death.
First one and then the other has the advantage,
and it is hard to say who will win. For one
minute II seems as though del Franchi must die
as Renaud has him on his knees before him
with his knife just poised above his heart. BY
an almost superhuman effort, however. del
twisting his adversary's wrist he throws Rem
auds sword arm behind him, thus gaining
great advantage. And now a sudden cry from
Renaud betrays his waning strength Still the
nght IS not ended, and every Intervening inch
between del Franchi's knife and Renauds : heart
is iercely fought for Standing thus locked in
eacn Others arms, the one cool, quiet and de-
termined while the other shows countenance
transhXed with horror and apprehension, the two
duelsts form a thrilling picture. This world
renowned duel is introduced in Dumass Cor
sican Brothers. in which the romantic actor,
Robert Mantell. is to appear at the Grand to-
night. At the matinee tomorrow he will play
Monoars, favorite bill especially with the
women, and very strong drama beautifully
costumed and staged Tomorrow night Mr..
Mantell will conclude his engagement with ''The
Face in the Moonlight, another play in which
he takes a dual role. The quick changes neces-
ably done. The final change in the last act sends
the audience away in wonder.