The San Francisco call., 1898-03-19

There has been regular row in Vienna over the first Austrian production of Leoncavallos La Boheme at the Inn perial Opera-house. Van Dyck, famous tenor who began life as reporter, was to have created the role of Marcel, but he was suffering from the grip. and begged to have the production put off for a day or two Leoncavallo who did not want to lose the services of such a good artist, sustained him in his request The direct or, Herr Mahler, gave no satisfaction to the singer or the composer, coolly declar- ing that discipline must be maintained, and that to enforce it he would have the performance as originally arranged. Un- der these conditions, Van Dyck produced a doctors certificate, declaring that he was unflt to sing, and Leoncavailo, ln high dudgeon, kept away from the re- nearsals and announced that ne would not be in the house on the first night. The autocratic Mahler. reluctantly released Van Dyck. confided the role of Marcel to another tenor and pushed forward the rehearsals He gave the opera on .he night originally announced, and its Suc- cess was immense. Leoncavalio, sulklnS in his tent, was sent for in haste, and was greeted with such deafening ap- plause and received such masses of flow CTS and floral crowns that balm was poured on his wounded feelings, and he made peace with Mahler. The only crum- pied rose leaf that evening was the ab- sence of Van Dyek, which was comment ed on in the foyer, as the public had been looking forward to his creation of the principal role Next winter Vienna will not ,lave Van Dyck, as he is already en- gagged by Grau for the New York Metro politan Opera-house season.
 Prince Henri de Valori, one of the best known amateurs of music in the world, died suddenly the other day at Nice of an attack of apoplexy. He was descend-l ed from ranch of one of the oldest families in Florence, which had for some generations been settled in France. The Prince, who was a perfect gentleman as well as an ardent musician. was for number of years the French representa- tive of the Spanish pretender, Don Carlos. He was in the habit of writing, from time to time newspaper articles relative to. music, but though he showed a passion ate love and appreciation for the art, it must be acknowledged that his ideas were a little behind the times, for he be- lieved firmly in the old style of Italian opera and could see nothing good In Wagner and his followers. He has left two published volumes of criticism, which from the standpoint of modernity leave something to be desired. The first is en- titled La Music, le Bon Sens ct les Deux Operas" and the other Is named Verdi ct Son Oeuvre.'
 Jeno Hubay, the Hungarian violinist, has left the land of the Magyars, to which his fame has hitherto been principally confined, and has gone to Paris, where he is soon to be heard at one of the Lamoureux concerts. It is expected that he will create sensation, for Hubay Is not only an instrumentalist of the highest order, but Is composer of great promise. gave the ffftieth performance of '.The Violin Maker of Cremona,'' lyric drama in two acts which he composed on a .libretto by Henri Beauclair, after Fran cois Coppe's well-known little play. Hu- bays music to this piece has ravished Hungarian ears and it is expected that Paris will soon mount the lyric drama. In all probability Hubay will be brought to America next season as musical sen sation.
 The text of "L'An Mil,'' the new work by Gabriel Pierne that Colonne recently executed at one of the Chatelet concerts, was borrowed by the composer from the Neumatic singers of the Middle Ages. 'L'An Mil'' is a choral symphonic poem, and instead of the usual movements of a symphony it is divided into three parts, symphonic, picturesque and decorative. Although the words are those used by the. Neumatic singers, the music has not any of the monotony of Neumatic music. "L'An Mil" has made quite an impression