The San Francisco call., 1898-03-10

arose and withdrew. When interviewed they gave as their reason that their con- sciences would not permit them to ad- dress hymns to Dagon. A number of overtures were made to the retiring tenors, for every one knows the priceless value of a good tenor to a chorus. MT. Snowdon and his friends were firm, how ever, and the other singers and the con- ductor were equally firm in refusing to suppress the most showy chorus in the work. A compromise has now been reached by which the Snowdon con- tingent retres into the corridor while a piece praising good, red wine Is being sung, and they make their final bow be- fore the Dagon chorus.
 Samson and Delilah' was written as an opera and was one of Sibyl Sander sons most brilliant successes. It still holds its place in the French repertoire, and during the month of January last netted more than any other opera played in Paris. There Is some talk of the Ora torio Society producing the work in toga- like garments.
 The management of La Monnaie. Brus- sels, with a keen eye to business has re- vived the Bruneau-Zola opera Mes sidor." It was hoped that the publicity the imprisoned novelist has been receiv- ing lately would be the cause of attract ing crowds to the opera house. These hopes were to a certain extent realized, for great public interest was centered on the first performance. Toward the end of the first act some one hiSsed and there was an immediate burst of public indigna- tion. The hisser was promptly turned out, and after that people seemed afraid of attempting any manifestation. One man alone had the courage to cry "Vlye Zolai but no one took any notice of him. The opera was given a fairly good pre- sentation on it's first production but Brus- sells has not reversed the decision of Paris that Zola's libretto, which is prose without line of jingle or rhythm, Is not suited to music.
 Cesare Ponsicchi of the Royal Musical Institute, Florence, has just published an interesting pamphlet entitled, I'll Primo Pianoforte Verticale" 0he first upright piano.. He gives the honor of inventing upright pianoss to Domenico del Mela, master of the Gagliano school in 1739, and to another Italian, Frederci de Gera, he gives the honor of making a much more perfect instrument in 1745. The pamphlet throws considerable light on the history of piano-making, which is for the most part buried in obscurity. It is interesting to trace the evolution of the instrument from its humble beginning to the superb pianos that We possess to-day.
 Charpentier, the French tone-poet, has written an opera, "Louise," which re- quires such an uncommon register of voice for the prima donna that no one has been found fit to sing it. The work was to have been presented next month at the Opera Comique, but in vain did Carre, the director, propose one lyric celebrity after another. Charpentier re- fused to consider any of them. It was said that young vocalist at Nice might fit the role and Carre proposed that he and Charpentier should go together and hear her, but the tone-poet refused. He now gives as his reason that he intends to reserve Louise for another opera house.
 Emilio Pancani formerly one of the most famous tenors on the Italian stage
 has just died at Hamburg, at the age of nearly 70. He was gifted by nature with a powerful voice of remarkable compass. The works in which he especially tri- umphed were "Otello," Norma" and "Poliuto." He was born in Florence of very humble parents, but he taught him. self singing and tried to form his man. ners after those practiced in the best so- ciety. So successful was this self-educa- ton that he not only became a great singer, but also acquired the manners and bearing of an aristocrat.
 Colonne, conductor of the Chatelet con- certs. Paris. averted a panic recently by