The record-union., 1898-07-03

these ladies. She is not only attractive
in face, but has a deliciously clear
speaking voice, an enunciation that
makes her lines telling. She has play
ed the leading parts in all Of Mr.. Days
musical productions. In
her clown act with Mr.. Powers she is
simply inimitable."
Signor Mancinelli has contributed to
the June number of the '.Aeolian Quar-
terly" an excellent article on his new
opera, Hero and Leander," which is
to be produced in New York next
winter, and which has already had a
number of performances in Madrid,
London, Rome, Venice and Turin, the
two cities last named having heard it
ten and nine times, respectively. Signor
MancinelE has some spicy things to say
about certain English and Italian crit
les; but he devotes most of his space
to a description and analysis of the
opera. In composing it," he says, II
determined to follow the lines laid
down by Verdi, especially in his last
two operas, 'Otello' and 'Falstaff': and
believe that all my countrymen shall
benefit and advance national art by
following in those footsteps" He has
not, as some of the critics said fol-
lowed the model of the wagnerian
music-drama, for in that there are no
separate pieces, arias, duets ETC.,
whereas his opera can esaily be divided
into arias, duets, concerted pieces.
choruses, etc, which he proceeds to
analyze, with many illustrations in
musical type.
| Jean Richepin's new piece, La Mar
tyre" just produced at the Theater
francais, seems to be morbid in it's
emotions and its realism. The martyr
is Flammeola, a Roman patrician in the
early days of Christianity, who is too
blasee to be capable of being interested
or moved by anything until she is
suddenly brought into contact with two
Christian apostles-Aruns and johann
nes-the latter of whom makes such an
impression upon her that she resolves
to win his affections. She brings vari-
Gus influences to bear on him, first OF
all to seeking to act upon his pride,
giving him to understand that il she
| becomes a convert to the new religion
she will be. followed by all that is most
INDUSTRIOUS in Rome. possibly by Caesar
himself. Johannes, by whom NJ Richie
pin clearly intends to symbolic Paul
while Aruns is Peter, though somewhat
shaken. has strength to resist her ad-
vances. In a final scene, where F'lan-
nicola. hearing that the Christians have
been arrested, comes to the Praetorium
and asks where Johannes is, the door
of the amphitheater is thrown open and
he is seen hanging on the cross, all but
dead Flammeola, in the ecstacy of hel
| passion, exclaims, And I, too, am a
IChristian!" whereupon Latro, the glad
iator. who has been jealous of her al
through. stabs her and himself. Mile
Bartet, who acts the part of F1amme-
ola, created a thrill by her mode OF
crawling to the foot OF the cross in or
der that the dying apostle might bap-
tize her with the blood from his wounds
The part of the apostle johannes was
taken by Mounet Sully, who is said te
have undergone weeks of athletic prep
araton to enable him to depict accurate.
ly and vidvidly the fortunes of the
cross.
Vaudeville managers, ever on TIL
lookout for drawing attractions, hav
seen visions OF wealth in the Lamb
Gambols." Negotiations have been Sc
on foot looking to an engagement o
the Lambs, and the offers made are o