The Saint Paul globe., 1897-10-17

about his duties and the "Iight-plot,"
sitting spell-bound, with crossed legs,
in the flies" When demonstrated
with, and asked how he could have
been so careless as to neglect his du-
ties and forget his instructions given
at rehearsal, he answered very prompt
ly and candidly: well, governor, I
don't often get chanst like this ere.
L was just sitting down and enjyin' of
myself with your actin--which was
grand, an no mistake-and s'elp me, /
forgot all about the bloomin' light"
A Berlin theater is about to bring out a
One of it's novel features will be incidental
music written for the occasion by Max
Karpa, who has closely followed in his score
the hints Neutrality-suspicious. furnished by
Goethe hilaself in letters to friends and con-
yersations with Eelfermann.
bC
Alexander Guilmant, the great French or
part Of November. He will give only two ore re-
citals in New York, and then at once come
to the West, where he has been engaged for
number of recitals in Chicago, Milwaukee,
cities. '' - =
Julia Arthur is having new translation
made of LA Dame Aux Camelias.'' which
she will present during her New York en-
gagement. She has also purchased the Amer
lean rights to Robert Bracco's three-act COM
edy, Infedele, which is being translated
and adapted for her. ]. l. Clark the dram
atist, is at work on both Of these plays for
Miss Arthur.
Oscar Hammerstein's combination of liv-
ing pictures and grand opera in the same
breath receives the following comment at
the hands of the New York Sun:
Oscar Hammerstein has an abiding faith
in the popular taste for good music, induced
probably not SO much by the success of his
ness with which music hall audiences well
come selections from III Trovatore' and
Carmen. Mr.. Hammerstein has also a
well-founded belief in the peop : s admin a
ton for living. pictures. This dates from
the early days in which, at Roster IL Bial s.
he posed in their frames some Of tic lest Of
them that New York ever saw. When he
combined ballet and living pictures in Mar
guerite,' the public liked that, too. So Mr..
!. Hammerstein- believes in the efficacy of the
living picture.
last night with some of the best known
scenes from popular classical operas. There
were five tableaux displayed, and after the
spectators gazed at them for moment the
characters sung the music of the particular
scene in which they were shown. They were
called upon in this way to sing we'll
as pose and it was not to be expected that
they would do both equally well. Some of
the scenes would in the opera from which
they were taken have been sung with
chorus, or at least in the presence of one.
But there were last night no more than four
figures revealed simultaneously.
The first picture showed a scene-or rather
a combination of two scenes and Two acts-
from 'Tannhauser' The stage showed the
Venusberg scene, with Wolfram sitting on
what appeared to be the, stoop Of the grotto
with his harp in his hand, ready to sing the
Evening STAR scene SO soon as Venus and
Tannhauser gave him the opportunity. An
avalanche finally shut them from view and
he had his innings There was a cash of
Bellini for the second layer of this musical
pousse cafe in. the form Of scene from
La Sonnambula. 20 It was the sleep-walk-
ing scene of the third {act and the Amina.
who was more frightened than anybody
watching her, sang sbetter in her sleep than
she did awake although her voice was fresh
and sweet and shez~had some idea of sing
ing. For the thirds number there came the
prison scene from ''Faust," with an apotheo-
Sis of clouds and angels bearing aloft a pain
fully undraped Marguerite: 1t must have
embarrassed her to go on high with so few
clothes on Even the papier mache angels
looked as though they felt that under the
circumstances it would have been more ap
propriate for her to have kept her clothes
on. Certain exceptions had been made in
her favor already and degree of modesty
ought to have followed.
The cinematograph has been adapted to