Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1898-01-11
THE KANSAS CITY JOURNAL. TUESDAY, JANUARY IL, 1895.
q 100" q Q Q
9 MUSIC AND THE DRAMA. G
g 90 8 o


The stock of the American comic opera ID
rising. 1t was for Il long time depressed
by an overproduction of tinkle and tinsle.
tricks and foolery and a plentiful lack Of
good music. 1t became almost as receptive
as farce comedy. 1t was sadly entangled
with burlesque and vaudeville. For some
time Reginald de Koven was about the only
composer and Harry b. Smith about the
only lbrettist who pretended to strive for
dignified forms. and even they occasionally
fell into the merry chase of profitable in
sincerity. But the recent, products of De
hoVen, John Philip Sousa and Victor Her
bert have had a good effect toward Il &C.
VlVai OF interest in genuine music among
the lovers of light opera. There are three
notable examples of these influential scores
among the new productions now before the
am nme = :Tho people; They are The seren-
ding, Day" the last of which was presented
at the Coates last night before the most
ddhiSitlngulshed audience this theater has held
ned approval. The librettist of this opera is
stanlslaus STANCE. a former Kansas City
AN M ana the composer is Julian Edwards:
Day." but it is improbable that anyone UNI,
familiar with the work expected as much
as As Wv was S realized last night; In general
ssidered. the like of this Offering has not
been seen in Kansas City.
Mr; STANCE has provided a story partic-
ulafly well adapted to musical treatment,
as will be remembered by those who read
a synopsis previously given in these col
situations, there being times when, in spite
of the lighter vein in which the whole
work is cast. the dramatic significance be-
comes genuinely Interesting. Mr.. STANCES
earliest indication of talent for theatrical
writing was a certain clever skill in de-
signing and working out striking situa-
lions. and that sauna llant has fnup1 .nr.
siderable scope in this work. His lines
and lyrics are of a considerably higher or
fort as a librettist. There is little in his
comedy that is either hackneyed or COM
monplace. and many of his verses are SUI
Rrsrior to the average comic opera lyrics.
The general development of the story is
vastly more natural and consistent than
Is expected on the operate stage. and he
has shown unusual skill in handling his
principals and working up his ensembles.
Ihere Is Just enough of military character
Mr.. Edwards has taken up these superior
advantages at every point. He has covered
a broad field in his score. The distinguish
ing characteristic of his music is its tdel-
iy to the various sentiments without the
sacrifice of artistic honesty. In this respect
he Is at variance with a large majority
OF the comic opera composers who have
peen writing for our stage in the last
decade. The gem of the score is a ~sextette
quintette and chorus in the last act is
a striking feature and several of the solos
are very taking. The whole orchestration
Is discriminating in the distribution Of the
various instruments ant. is rich in effects,
both broad and delicate.
The conjunction of three Interesting stars
IN a work of such general excellence great
~ lntensifies the satisfaction that comes
Iicm its first hearing. The situation is
an anomaly both artistically and profess
euished of the three. does not engage more
attention nor make a greater impression
than her associates, although she is sup
Dllpd with a mart nf S11ffirianf GONNA 70
reveal her beautiful personality, her ex-
cellent voice and her graceful manner.
vaiiing desire for central attraction, but
her voice is heard at its best In several of
the concerted numbers.
Della Fox.it Is pleasant to note-has
roundings. She has never before shown
anything like the sincerity and the art
BILE role of Rose Marie. She has overcome
some tendencies toward coarseness that
had grown upon her to a disappointing de-
with individual opportunities, and has the
advantage OF appearing in a most pictur-
eSque creation.
dAngeii This nimble comedian is so ir-
resistibly merry; so gracefully awkward
and so assertively magnetic that he easily
becomes the center of attraction. Here is
4 chance for the triflers who have been
supplying our. light opera to smile with
musical character, with a liberal supply ,He Of
effective numbers and with an exceptional
cast of principals. and yet7a comedian who
makes the biggest hit. The most popular
and the Whale" which is related with ali
comedian. Some of MI. d'Anseiis' lines ntsS are
pretty racy, but he saves them from vul-
garity, by his clever handling of them, al
though at several times he INDUCES in bits
forts sake, if for nothing else. VA
list nhe Of i'i inte or s5ars nees not ho complete the the
William Pruette, who has not been heard
In this city in some years. and who has
of his basso qualities. He has less oppor-
tunity than might be desired for so admira-
b nl ek e S himseif 9 Hnst he i has sn9%gh M Sfope Ito to
ellie Saunders. large of voice and physique.
is a contralto better suited to the heavy
who has the temerity to retain the unpro.
fessional name Of Tom Greene. has a good
make: a a ce ennG daal Of foF hts Of p=r ayfHrance' B and
ring an insistent vibration, he sings with
excellent method. Charles W. Allison and
The The opera is sumptuousi y and arttistieally
staged. 1t will be repeated tonight and to-
m morIDss hight. There Sr yi1l h no IA Tsfns7Say
New York. Jan. 1O.-Julia Marlowe was
called before the curtain at the Ksnickere
booker theater during the first presentation
in America of THE Countess ValeSje." the
English adaptation of last seasons Berlin
| success, 'The Tall Prussian.' by Rudolph
Spatz. Poland is the scene of the play
and the eve of the battle of Friesland. 1907.
the time. CHARTERED in the countess castle
was Napoleon. he being threatened with
assassination. The struggle of the hero
inc. the countess Miss Mariowel. between
| patriotism and love for the tall Prussian
who was captured by Napoleon's guard.
played Miss Marlowe in a role entirely diff
ferent from anything she has before at
tempted, and 1t may be said 1t was her
proper sphere. She was ably supported by
BasSett Rowe.
| London, Jan. 1O.-In the performance of
"Peter the Great" at the Lyceum theater
| o-night in consequence of Sir. Henry Irv-
ing's temporary loss Of voice, his son.
| Laurence Irving. the author of the play.
| appeared in the title role, which he handled
in capital style. though without rehearsal.
He was vigorously applauded.. 1t is ex-
| pected that Sir Henry will be able to reap
| pear before the end of the week. as he is
suffering from only a local affection of the
| vocal chords.
INVASION OF TRAMPS.
BY Refusing to Give. Americans Can
Stop This Growing
Nuisance.