The record-union., 1898-08-21


of our modern plays have eating
scenes? 1t seems as if every show L
go to see lately has somewhere in it
a chance for the actors to gather
around a table and partake of square
meal"
Haven't you caught on to the snap?
The playwrights stand in with the res
taurant keepers. Everybody gets hun
CRY when a table is set on the stage,
and that's what makes suppers after
the play so fashionable"
Levers once celebrated hero, Charles
O'Malley, the bold Irish dragon, has
been rescued from the library, where
he was fast falling into oblivion, and
transplanted TO the contemporary
stage, where the chances are that he
will continue his check red but enter
tanning career Indefinitely. Theodore
Burt Sayre is the dramatic resurrec-
zionist who dragged the dashing dra-
goon from his untimely grave in a gen.
orally neglected novel and Wilton Lack
aye is the player who realizes Charles
O'Malley to the life.
Way Down East" is looked upon as
one of the best pieces of theatrical
property in America. 1t has all the
elements that made "Old Homestead"
and Shore Acres" such great money
winners.
Mile. Reichemberg's successor as
'doyenne' of the Comedie Franchise
is Nine. Worms -Baretta. She made
her debut in 1860, at the age of 8. as
the little daughter in LIE Supplice
dune Femme" After a training at
the Conservatoire she went to the
Odeon, but NJ Perrin soon enlisted her
among the recruits of the Theater
Fransais, and in 1876 she became
societaire. Avignon was her birth
place Nine. Baretta possesses at
once the gifts of smiles and tears,
passing with ease from light comedy
TO the "drame passionneP' of to-day.
She married fifteen years ago NJ.
Worms, one of her able colleagues in
the House of Mollere. and the partner
ship has been happy.
The impression gained from witness
ing representations of nine-tenths of
the Irish characters, SO-called, now seen
upon the stage, is that the Irish as
nation are physical curios, mental alb
surdities and social incompetents. They
are a libel upon the natural intelligence,
large heartedness and quick wit of
race which has fairly, as race, won
an equal place with that occupied by
any people on the earth. The Irish as
they really are, are quite like any other
rational human beings, except, perhaps,
they are more intense in their loves,
their loyalty, their ambitions and de-
termination.
Mainz seems to be a sort of head
quarters for oratorio in general, which
is not usually so popular in Germany
as opera. A successful effort has been
made to popularize Handel there and
in other cities A few years ago Mainz
had a Handel festival. Last year, at
a second music meeting in the Rhen-
ish city, Esther" and Deborah ac-
cording to the edition of the hrst-
named. These oratorios, together with
Hercules" are now re-established in
the concert-room all over Germany.
Performances have been given IN Ber-
lin. Dresden, Munich, Leipzig, Cologne,
Afx-la-Chapelle, Hamburg, Augsburg,
and Nuremberg. This in spite OF the
fact that the Chrysander editions are
not yet in print.
Here is a paragraph apropos Of the
song from Croker's edition OF BosWells
Life of Johnson: Boswell, in his
visit to Corsica, says that the Corsi-
cans requested him to sing them an
English song, and he sang them
Hearts Of Oak" Never did see men
so delighted with a song as the Corsi-
cans were with Hearts of Oak 'Cuore
di ouercor cried they, Bravo, IngIese?
1T was quite a joyous riot. I fancied
myself TO be a recruiting sea officer.
fancied all my chorus Of Corsicans
aboard the British fleet"
London Telegraph: Mr.. Gladstone's
Latin version of Rock of Ages" was
written as far back as 1913, and ii was
included in the Translation by Lord
I.yttelton and the Right Hon. w. E.
Gladstone" published in 1861. BY eX-
press permission of the Liberal leader ii
was set TO music by Sir Frederick
Bridge for the Birmingham musical
festival of 1885, the festival which
likewise saw the production of Gou-
mods "AIors ct Vita Dvorak's spec
ter's Bride" Mackenze's violin concer-
to and Stanford's Three Holy Chill
dren." 1t is Of full anthem proportions,
with accompaniment for orchestra or
organ, and after an instrumental intro
duction il opens mournfully with
baritone solo and chorus. There is a
change to the major and a more hope
full tone at the words analogous in the
Latin TO Not the labors Of my hands"
and a fugue at when I rise TO worlds
unknown" the whole ending peacefully
with the theme of the Rock Of Ages.
Mr.. Gladstones hymn transactions like
wise include one into italian OF Cow
per's "Hark, my soul. it is the Lord, "
published in THE Nineteenth Century"
in 1888: and the Latin "Scis te lassum
Seis languentem?" adapted from DR.
Neale's Art thou weary? Art thou
langnid?" Qtself, it is said. borrowed
from the Creek to the English version
OF which Sir Arthur Sullivan, among
numerous other musicians, has COM
posed hymn tune, popularity known
as Rest" Although his fondness for
music was well known, Mr. Gladstone
was not very frequent visitor to the
opera or the concert-room. He was as
Covent Garden about five years ago.
and he also, a little later attended dur
ing Senor Lagos season at the Olympia
q performance of 'Lohengrin," with
Mime. Albani as Elsa He then, how
ever, frankly avowed his taste for the
older melodic rather than the modern
advanced school. Mr. Gladstone, like
Arthur Balfour. was an admirer Of
Handel, and down to few years ago
he frequently attended the Handel fes-
rfivals al the Crystal Palaca 11r,nllr.