The record-union., 1896-08-16


der the direction of Colonel Mapleson,
says the New York Tribune" is to be
given at the Academy of Music in the
autumn. The company, which is sent
over by an English syndicate, is called
the New Imperial Opera Company. 1t
was originally projected in connection
with the proposed new opera-house on
the site of her majestys theater, Hay
market, but that part of the plan has
been given up, and the first appearance
Of the company will be in this city on
October 26th Some of the singers will
be Nine. Scalchi, Hercla Darclee, dra-
matte soprano; Josephine Huguet So
prano; Bonnaplata-Bau, dramatic So
prano; Signor De Marchi, tenor, now
singing in South America; Nine. Parsi,
contralto; Renee Vidal, formerly of the
Grand Opera, Paris, soprano, and Signor
De Anna OF these, Nine. Scalchi and
Signor De Anna are the only ones who
have ever sung in this country. The
conductors will be Signor Tuscannini
and Signor Bimboni. The chorus of
sixty is to be brought from Milan. After
the engagement in New York the COM
pany will visit Boston, Chicago, St.
Louis, San Francisco and other cities,
and possibly play a return engagement
In New York.
After having been on the sick list for
two years, Miss Georgia Cayvan will re-
appear before a metropolitan audience
at Palmer's Theater. Oct. 9th. at the
head of her own stock company, opening
the regular season of the house. Miss
Cayvan will present new play by w. r.
Walks, entitled, Mary Pennington,
Spinister.''
Since the early periods of Indian his
tory music would seem to have been
cultivated more as a science than an
art. Hence arose technical rules that
marred the original sweetness Of melody,
the very life of real music, ''Rakti,'' or
the power of affecting the heart now
asserts itself, more and more, and is
slowly but surely bringing about a re-
turn to the early type of sweet, simple
melody. Music has there been devel-
oped to a degree far greater than has
been generally recognized in Europe. 1t
is there felt to be a means of passionate
expression, such as is apparently un-
known among nations farther east.
Respecting the power attributed to
music by the Hindoo the following tradi-
tions are historic. Mia. Tonsine, Won
derful musician in the time of King
Akber, sang one of the night rags
Crag' Is a song composed in certain
nodes at midday. The powers Of the
music were such that instantly it be-
came night, and the darkness extended
in circle round the palace as far as
the sound of the voice could be heard.
There is a tradition that whoever shall
attempt to sing the rag dheepuck" is
to be destroyed by fire.
This Emperor Akber ordered 'Naik
Gopaul,' another celebrated musician, to
sing that rag He endeavored to ex-
cuse himself but in vain. The En-
peror insisted on obedience. He, there
FORE requested permission to go home
and bid farewell to his family and
friends. Upon his return and before he
began to sing he placed himself in the
waters of the Jumma till they reached
his neck. AS soon as he had performed
strain or two, the river gradually be-
came hot. At length it began to boil,
and the agonies of the unhappy musi-
clan were nearly insufferable. Suspend
ing for a moment the melody thus
cruelty extorted, he sued for mercy
from the monarch, but in vain. Akber
wished to prove more strongly the pow
the fatal song, flames burst with vio-
lence from his body, which, though i'm
mersed in the waters of the Jumma, was
consumed to ashes"
These are many others of the same
nature are related by the Hindoos and
implicitly believed by many.
Dramatic Studies says: 1t was the
definition of Francis Delsarte, that the
Dramatic Artist is, all that is, at WILL
The artistic being needs all the attri-
butes of the natural human being. The
one who possesses all human powers
in the completest way is the best fitted
to be an actor. Therefore the actors
training is very inclusive and seeks to
perfect all faculties and accomplish
rnents to a much higher degree than Is
necessary In real life The higher physi-
cal needs of the artist, as distinguished
from the person of ordinary life, are
not merely to remove from the body
overgrown mannerisms of the body and
of the voice, faults in the workings of
the machinery of expression. After such
deformities have been cured, the proper
systematic training begins. There are
natural orders of development, based,
as we shall discover later, on the laws
child's growth or the evolution of any
animate object. The natural sequence
of study is first, training of the actors
physical instruments; second, his edu-
cation in the elements of human ex-
preston; third, the development of the
expression of the complex emotional
effects of the drama While this gen
eral order instruments, elements, eff
fects, should be followed, yet 1t should
be borne in mind that no one faculty
of the human being can be properly
divided from another any more than
one part of the body can be separated
from another. Therefore, all studies
should cooperate. But some one
study will be more important at enc
time than at another. Although the
general body needs the most training
at first the votes, theatric accomplish
ments, expressive reading and panto-
mime. and other branches should ac-
company the body's training. So, too
although rehearsal of plays is more i'm
portant in the final heat of the race
plays can be studied and practiced prof
itably all the time. Finally, it should
he remembered that while technical
skill and the sensations of pleasing
physical power come first with the
actor artist, that there should be as the
second attribute of a true professional
the scientific knowledge and the un-
derstanding of the intellectual meaning,
and not least of all an inspiring i'm
pulse of genuine affection for the work