The Salt Lake herald-Republican. [volume] (Salt Lake City, Utah) 1909-1918, 1910-08-14

and other large cities. musical jOurn-
ais everywhere are calling attent' OF
10 the impOliteness and inattentiOn eN-
hibited by American audiences at mu-
steal affairs.
One of the most criticised causes
of annoyance is the practice of fash
ionable DANES of arriving at a per-
Torrance some minutes after il has
begun. Their entrance is calculated
10 attract as much attention as posi-
bic. and the interruption is prolonged
by the hustle of removing wraps and
getting seated. They make Of the con-
cert or opera a society event and show
no consideration for the rights OF
those persons who sincerely desire 10
hear the music.
The same effect is produced by the
early and often spectacular departure
OF a considerable portion Of the
audience. No one can hear the divine
music of the great artists In the midst
I of the excitement attending the with
drawal of the bored and independent
: members of the smart set. They have
paid the highest prices for their seats,
they are known as the mOneyed pa
irons OF the event, and their comings
and gOlngs are as much a part OF the
show as the singing OF the. most cele-
brated musicians Nor Is this lack Of
public entertainments are regulated in
America. any seathOlder can enter or
leave when he chooses, and the great
est indignation Is manifested if an at
tempt is made to check his liberty 10
make a nuisance Of himself
An example of this was seen at the
last engagement Of grand opera in this
city. Late corners we're not allowed to
take. their seats during the singing Of
arias, and in many cases Were held
until the curtain fell at the end of the
first act. In spite OF the stictness Of
the regulations, and that il had be
come fully known that seathOlders
must be on time, even the last per
Torrance found crowds waiting for
the curtain 10 fan in order that they
might be seated.
However, conditions are much bet
ter In Salt Lake than in most cities.
This Is due ia part 10 the good sense
and genuine musical feeling that ex-
lists here, and more largely 10 the ex-
ample set at the Tabernacle organ re-
citals. when il is made impossible for
any one 10 come late or leave before
the end of the performance. The lit
tie speech which precedes each pro-
gram politely invites all persons who
feel that they cannot stay through the
performance 10 leave at once, as the
doors viii be locked. The prOmptness
with which these recitals begin and
close is very gratifying and undOubt-
eddy plays a minor part in making
them popular.
such regulations following the ex-
ample Of the management of the Tab
ernacle recitals are more or less in
vogue throughout the city. and in
comparison with other places the
In. Ia ..F hire Il
ing and consideration are few. The
coming season promises some notable
musical events, which Will be most
satisfactory entertainments II the
common cOurtesies that should regu-
late public affairs are observed.
An editorial on the subject in the
current number OF the Musical COur-
Ter states that this impOliteness is no
greater in America than in the cities
of Europe. with the exception Of those
OF Germany. II is as follows.
a patient reader asks If anything
will be done toward teaching lessons
OF pOliteness to New York concert and
operate audiences. Unfortunately,
there is no authority that can answer
this question or even to tell how il
will be possible 10 improve the man
ners of this community Persons who
pay for their tickets feel that they
have the right 10 come and go as they
please. Ii is the proud American
spirit OF nOn-interfereuce in personal
liberty, no matter who is ANNOYED by
such independence. Those who do not
paw for their tickets, namely, the
deadheads. they. too, come and go as
their sweet wills dictate. The patient
reader may become resigned TO exist
ing conditions here when he is told
"a
Paris or London. It is only in certain
cities Of Germany where latecomers
are punished by being compelled 10
wait until the act is over before they
can be ushered 10 their seats. As for
leaving the opera house or theatre
during the last act. that, too is diff
cult in these German houses, for as
rule the doors are locked and no one
can make his exit until the final fall
OF the curtain. In FranEfort-on-the-
Main no woman can enter any Of the
lOges or parqueJ unless her wraps and
hats have been checked in the cloak
room.
An important musical event is the
coming Of the mixed quartette of cele-
brated singers TO the OdeOn on Sep
TENDER Z. under the management OF
Fred c. Graham. II is composed Of
Marie Rappold, Margaret Keyes, Dan
iel Beddoe and Allen Hinckley. Be
cause Of the expected appearance Of
Daniel Beddoe. the great Welsh tenor,
his coantrymen here are taking an in
terest in the concert and promise TO
make IL a huge success.
Marie Rappold, soprano OF the Net
ropolitan opera house. appeared IL the
city two years ago under the manage
ment Of the Orpheus club. Her sec
ond concert here VIII undoubtedly re-
peat the success of that occasion.
Margaret Keyes is a prominent con-
traltO OF one of the large New York
churches.
The tenor of the company is Daniel
BeddOe. the world-famous Welsh sing
er. Professor Evan stephens and Of
ficers of the Cambrian society are
taking a personal interest in the con-
cert because of his connection with it,
Allen Hinckley, the bass singer. re-
Gently became prominent as a mem
Der OF the Metropolitan Opera House
company A program Of solo and
quartette music viii be presented,
which will exhibit some of the hest