The Hawaiian star. [volume] (Honolulu [Oahu]) 1893-1912, 1905-05-16

The following brilliant description of
Nine. Schumanu-H eink'ss work i'm comic
opera is by Amy Leslie Of the Chicago
Daily News.
Nine Schumann-H eink captivated "a
large and enthusiastic aUIiisnce at the
Illinois theater by her humorous and
delightful impersonation of a bright
low comedy character in Loves Lot
terry and reused intense admiration
by her beautiful singing not only of
the charming music in the score, but
by her rendering of two interpulated
classical numbers i'm which she has
been famous for many years.
Nine. Heink in no wise trifes with
her sonorous and imposing right to
hOHors of the 1obility in grand opera
when she takes IT upon herself to be
versatile and merry in wonderfully
light way On the contrary, she seems
to have come 10 the rescue of abused
and trampled comic opera and with
superb vitality and art lifts it beyond
where its fascinating arts used 90 stand
years ago WHEN such lovely people as
MOdjeska, Jane Hating and JudC
made it worth while to cultivate. Comic
opera has been in such sodden desue-
tude for nearly fifteen years that COM
pOsers forgot how to build IT, but the
inspiration Of writing for Sehumann-
HeinI has enabled Stdnislaus STANCE
and Julian Edwards TO produce as per-
feet an example of real opera cOmique
as could lie expected anywhere away
from the school Of Won Suppe, Lecoq
or Offenbach.
Edwards music is scholarly, elegant
and splendidly scored in a feathery,
sweet and brilliant style which sug-
gests Walteufel and sometimes Audran
without any sort of leaning towards
their actual melodies. AS nearly as
any sort of pretty music of dainty mold
can be original when such acres and
acres of it have been written from the
silvery eight notes and their half tones
which comprise the gamut Of musical
foundation! Edwards has written ten
der love songs and happy comedy Tits;
he has made intensely breezy ensembles
and arias which stand the comparison
of Decker in a flowery mood and notes
of LINDA Di Chamouni."
Mr. STANCES libretto is in so exact
sympathy with both the music and the
great singer whose singing of it has
blessed every tone of it that the book
could scarcely be improved upon though
it is no wise remarkable as to original
ity or scintillating wit which is rather
an advantage since it is plain and d.
rect i'm it's submission. STANCES lyrics
are not shining ventures in rhyme and
rythm and open no rOsebuds of poetic
thought, but they fit the music in
sort of adequate polite way which If
not highly literary is at least modest
and blends with the music and the
stars individuality. This extremely
agreeable contribution to a lost and
lamented fashion of light music is adj
mirably delivered by Nine. Schumann-
Heink.
One relief was the absence of the
founcy silly grille with baby stare,
with the paint on her face and the
bleach i'm her pompadour, the cOnspi-
cuous Examinations of her genius. No
cheap and idiotic show girls with cost
~ and dazzling clothes offended the
foreground of the performance. There
were women well behaved and cleanly,
nicely dressed and standing a dignifed
bulwark Of vocal music upon which
flashed the great songs OF the piece
Four young women with fine voices did