The San Francisco call., 1897-02-18
BY Society.

right and lett, and didn't know in what di-
Iection ought to look. hope to good ness
shan't have to play there again. The Waldorf
Is all very well for a debutante who needs
friendly launching from society friends, but
as for me want to be brought face to face with
the great public and not depend upon any one
class for support. When my manager met me
at the steamer and informed me l was to play
at the Waldorf was aghast and did not hesi-
tate 10 tell him so. But my dear Nine. Car
reno we must have society with u.s. he remon-
strated. Bother society," replied. Society
is all very well of itself, but it is best not to
NIX il up with art "
There was time when the Royal Theater of
Madrid was one of the most fourishing opera
houses in Europe, but lately it has fallen into
state of utter decadence. A Madrid news
paper. FL Campenon, asks: f'What would the
managers of former times say If they could
come from their graves and see the state OF
things going on at the opera-house2 The
management has sent away Nine. Adalgisa
Gabbi, whom the public wanted and insisted
on having; it could not pay Nine. Teresa Ar
kel, and it was not ashamed to offer NJ. Russi-
tano reduction of salary Immediately after
he had obtained great success in The Hugue-
nots,' lie Prophets,' etc. Russitano pre-
ferred to leave Madrid. The celebrated artist,
Nine. Pasqua, soon went also, refusing all
overtures for re-engageme Mt as she was worn
out with the state of disorder and the scandals
which resulted from the aversion of the pub
lie for an enterprise without management,
without tact and without brains" 1t may be
added that Nine. Gabbi aud Nine. Arkel are
two OF the best dramatic sopranos in Europe;
they would either of them have little diff
Guilty in putting into the shade Nine. Litvinne,
Nordicas successor at the Metropolitan Opera
house. In fact, their voices are younger and
more beautiful than Nordicas. Arkel is
Jewess of great beauty, and is possessed OF
remarkable dramatic ability, and Gabbi is
Neapolitan, with all the fire and yerve of her
race.
Charles Frohman has gone on record as re-
fusng admission at his theater to @ New York
critic who had bought his tickets. Mr.. Froh-
mans reason was that the critic is gen.
orally acknowledged to be actuated by
envy, hatred, malice and ali unchari-
tableness. In Switzerland the question
of whether a person can be refused ad-
mission to a theater has just been brought
before the highest tribunal in the country,
and the decision there brought the Supervisors
of Geneva into good deal of trouble. 1t
seems that popular singer in light opera had
en- admirer, whom she said could call upon
her occasionally behind the scenes at the
Municipal Theater The manager did not
uare e&postulate, as the singer was very capri
cious and her presence in the cast always
caused q sensible increase in the box-office
receipts, but to outsiders he expressed his
opinion that it was nuisance to have
strangers coming behind the scenes when the
performance was in progress. These words
came TO the admirers ears, and he imme-
diately sought out the manager, with the re-
suit that a quarrel ensued and the managers
face was slapped. He at once complained TO
the Municipal Council of the city of Geneva,
which owns the Municipal Theater. The
council forbid the young man entering its
theater, even as q spectator. Believing that