davidaulloa/AmericanStories huggingface dataset:
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

d)cnoeS Gliantum 0itnger Su boben
milnldt, 10 erntet lie mellt ein piel'
lagenbes Adliel5ufcn. lin nun nit
Gem ldllieBlid 0od erbettelten Stoil.
oilnqer moalidllt gut ous3ufom.
men, lit Die SnnebnItuug elmer &c,
re9elten Srudttolge umerlaBlld.
Wton mit5 eben berildiidtigen, oub
Die @emliepilon5en uidt iommtlid)
0ieielben anforOerungcn itellen, un0
cin5elne 8cIpadie ourd) cine oireftc
Stollmiit5ufllbr iogor geid)aoigt mer-
0cn. Auf blottnrrne 8en1iiieortcl
miiilen blattreide, allf tiefiuur5eluoc
@cluodic ober iolde nit einem ifmo.
diem @ur5ellDitem fol9en uno umge.
febrt.
Is emptieblt lid, Die fir Dos Sc
mille bcitintmte 6lodlc III orei0rup-
pen ein5utDcilen mo idlon bel oerHe'
orbeitun9 oc5 8ooen bierouf Jfild.
lidt 81 nebmen. 9dlr fir ben eritell
GheiI eebroudt man Stulolniger, al.
Itr0lngs III 10 erbebliden Weltger
ooB sic 0aolirh crlnngten GdbritofiC
bel GINGER lnteritllgung ourd flint.
Iihe 3iln9mittel oreI Sabre binourd)
mirtiom bIeibet. 9icler 3lan miro
nit aoblscpohicn, @urten, Salot
mo Spinat beboltt. Gie 3peitC
@ruppe loa Scnerie. Mobrritben 3o.
oicSden, Gcttihe uno onocre Wur3el'
gGpddlie, ionic 3ulcbeln frozen, ma
lie befommt ouBeroem cine leld)tt
Giingun9 nit aonboit, &oljoidIc
o6er fltr5em olten Staaoltng. Dtof
fam Die NenQe 0Ieier IilngermlttcI
m8orten be0euteno itorfer beineiien,
oils lie fiIr 6eloirithte aageoronct
miro. Gieies gilt nameatlid] fllr oti
critic 8rlppe, Die teinerlet 3ufiibt
notiirIiden Iiingers erbalt. &iet
iperoen Die INSTRUMENTATION eje.
miiieorten, mie Stongen. uno Eufi-
bobnen, ionic Grbien unter9ebrnd)t
Cine ifipadle Stifitoff5uiubr in Der
Torm BON Stonouug lit obcr trotocu
ongebrodt, oomit Die Nflon3et bon
pornberein gut ollf oen @eg fommcr
uno oann oeito idneaer 3ur Iuinab.
me oes 2uftitiditofies befabiet wer.
oen.
SIN nodIteu Sobr ne6ielt ntor in
foIge1oer Neiie: Ser Stnamii
fommt ouf Die 5weit 8ar5cue, oafill
tuiro Die I'M borigen Sabre geOilnatt
g5I1he uur nit tunitIiden Ilngeritoi
fen beoodt. uGbreno Ger brittle 4ilnr
uuBer ioIdem olid Gontpoit befommt
Wton beoente. 6ai Die @emuiebeeti
ourh ioIhe 6rlftiolae. uno ounr
rod ourf) eincu nngemeiielen 3mi
idienfruftbdu tart in 4nipruh &c
rommen tuerocn gu reihlih mirt
Die Giiugung clio faunl jeruoIs mcr
Den. 4ud FIR Die GiInal,na mo ge
piIon5unq 6es @emiiIegortens iolter
I'M @inter orc @Idne geriadlt mer
oet.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31
sanorat6, n~SultspOt", Ga GroHe, isis.

ODER ollf ocm 3ungenriidcl runSe
@iattern rocr 9lolen. Weld,e Mi.
inngs meiRgcib, lpater brouit ooct
ldtpor5Iih. uno oft 10 arolj ais el,t
@aielnuB iint. Sic entbalten cine
Chime Salld)e, tpelfe ole benod)bar.
ten EbeiIe o1iiriBt; lit Die @Ioie 8lt.
iommen5eioaen, 10 entitebt cine
bronnc aruitc, inter lpeld)er oIe
&onhe INNER tieier in Die 3rngc
cinfribt. Ger Atben erihelut oon!
itlnfeno; oas gauge MonI, 70 wic
Shiuno nno Ma1cu f6nneH brun0ig
meroelt. u1to oipies oft III gon3 FIR.
5el 3cit. moroul boun 3ittcrn, aui.
ttcibitnq oe3 9mlhe$, groBe Nnglt
mo Der zoo %eriolgen. @iro nidlt
iebr friib 0ilfe geIelitct. 10 miro Die
0ronfbeit meiitcns to0tlid) mogegcn
einc 5citiQc uno pnlicn0e Nillfc 0ie
Setting qelpGbnIid) bcmirtt, obihon
5iemlidl lougionl.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

Sobn SD. in 9, 81. Sin bout
ifer W nreeni lit gleidl 0.G31 ane.
ritaniiMer u der. Sn Deutih Sio.
Nfrifa mare oogegen Gin 70 0 + 9 e II
Iopiel uie 2,17 Mder.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

~. 00t. w 0t.t Sh. ~pNlht tuf
ter SIREN aiiben nir ein 6oll
bon 8ermerien por9efommcn lit.
10 liegt fem ieu6enbiites @erfoibell
Dor. l%tebri9enS bate Der Gbierar3t
Der bel Ger 8eburt oeS ncrpebrtlie.
acnoen Stables bolf. Sbnen Die bette
alsfunft crtbeilcu f1ni1en. Nus
SSbrer Wittbeiltng, Dab bie Sub i'm
ilebetten Wfornt Der Srog8eit per-
%luorien BOT, IdBt iid aus Der 6erne
uidt be~lIrtbeiIen, oh iclthenb1ftcS
9Scrfalben porIie9t.
q. 4. IN VI, Wo. Sci auf-
trctet Der Subcrfuloie utlter einent
SdDpeincbeltnno Iiegt, lpie Die Waeoi-
5lner bebonptcli, Der &croudt nabe,
oni} oIc Ibiere oen AnitefmgsItntf
nit DER Mild ouincbmen. Merit
Wagermild aus Summelntolterelclt
C@utter. lirb a0iefobriten) u%crfit.
iert miro. Die gar ooer nid)t longe
Qcnuq getodt moroen lit. 70 fonnen
ne Sdmetne alleroings Icld)t aranf.
bcitsteime ouinebmen. Nile Vto9er.
mild lollte aus ollgenteinen @riiil.
Ger minocltens 10 Mtilnlten lang pe.
futt meroen. SIT otc SuberfuIoie
crit einntnl i'll cinem Sd)pcinbcItar
Dc p%erbreitet. 10 bot ouf oIe Sale
cine StaIloesinfeftion Nnitreldlcn
nit aolf) menig 3lped. neil Die lbic.
re it'd uittereindnoer onltcdcp An
bclten lit Is. Den oon3eu 9ei'oao tort.
5~rlidlnfien mo Damn Den . tall o0cr
Die 9udtett, nod GntfermINq idmmt.
Iidlen oIten 0oI5lperts, gritnolid nit
tciber Sp0oInuae 5u nnldlen unb init
GoIttilnd)e. Der auf eincm elmer poil
5mei lln3cn aorboli1ure pqeieet
peroen, an3uitreihelL che neltc, qe.
iituoe Shmcine biticineebrodt mcr-
Den.
6. 8. u. in R., 98is. @ie picl
mon 2egebilbnern iilttern iol, oa-
riIber loIien i'd fcint yang genoueu
gtormen ougcbcn. oenn III Jeocr
NolIe ia III ic0er 3udlt. 9tbt es sc.
ml9inmc uno 9%eiraBtgc Sgiere.
&dbrcun DER Seaejeit bot Elm Suhu
ialt uodnial 10 Dicl NcourtniB ols
ollBer 0iticr. Niles, pnc oos 81
enthdIt, auiB 3llpor III Der Nobrlua
oufqeuonnteu lem. Rcihlif gefut.
icrte Sithner legm metr unO gro.
here Gier, obcr tie broudcn 9ici5.
mittel 0o3i, ionlt merocn tic trogc.
9teaeI lit. Dap man oen 0iibnern rte
rebr 6iltter nuf einnul 9ibt. OILS
tie begieria per5ebreft. Is 0arf ntdtS
lieqcr biclben, iouit perocn iic SUI
I r1gbeit nod noihhaft. Auf groBcn
@iitern itrcut ma 0aS 6lttter Dobl
iiber oeH anr5cn Sol ols Oh man
ioeu miIroe; 6a merccn tic flciBig
uno ulld) oas 0llmmite 0itbn muii
ctluas iin0en. Sut man lie aber i'm
.crQcn Aduntc. 10 ~iittert man tGqlIh
6reinral. Worgels Neihflittcr. aoS
Aben6s 3upor 3ubereitet murbe, be-
itcbcno ~ aleie. &~artrfieln. Hilben
un6 Abfdllen BON Der NuusboItunN
uiU. Iieies Suffer oibt mon i'm
4}inter !aumnrm. Wiittals miro
cine Grt j%piiheniuttcr unh MIR mc.
mia degebelt. bier eianct lidl beion,
hrs 0o5 Vciiutter. 6leIi6. aefotlc5
gut 6,rilucs, 9@urBeln GHo aupl.
lem uim. Abenos 1tbt m0u rcidlldl
00rnSr.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31
2Se6ferptrt6fdoft inn
Gemiifegorten,

or Stonounger
reidt b~efollntlid)
nidlt einnlal fur
Die 0eIofuIturcll
aus, uno luenrl
Die @ausfrau I'M
SCRIPT poer I'M
6rubiobr fur
ibr @entuiegart-
dlen ell entipre.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

Sobnentritt bebt 0os Efero eirefl
ooer beioe 9interidenfeI 3udeno orli,
nobel ooS Sprunggelelt Itrat uuO
frampiboit beluegt miro. 9erlel.
be lit an Iniaug ltdrfer uno Der
idmilOet bcim 5robe mo miro oft
nit Spotb permehiclt. Gas Yfero
ieiitet %inoeiien 0ienite gut uuO gern.
Nur, neil 10 5iemlid unbeilbar.
iiberaiilfh.
6. ". III 81, Did. Sic sc.
leBc gcgen Ole &crfdlihung bon Sc.
bcnsmitteIn iino itreng 9eiug, nur
nit ibrer 0urdiiibrln9 bnpert es.
90. u. in g, Minn. Sic BON
ser RullCn 5%erltorte o%ltpruuBilhc
Stuot Roghit. Oeren Mic6crcuibaI
Die Gelltid1 Anuerifoner ilbernonl.
men bobeii, liegt ill Gcgicrungsbe-
3irf 8umbinnen mo bat ungefohr
5000 Ginlpobner.
6. $. III 81, Mis. I'm Shier-
or3t gu ,uer0erl. beltcbt Die erits
Qualification oarin. ole 9odliduIc
obloIpirt 5u bobeu ODER einen oieier
&nrbilOung aQuipoIenten 0odnpeis
3u crbringcn. Sn sSbrcm ipe3ielcr
Soil miiBten Sic oud bepcileiL 0olI
5ie oes Gnoliihcn in @ort uuo
Sdriit mod)ti9 liHo.
g. ". IN ", So. n2inodli
!;cGt I'M 9ooenlee, mer's net gloubt,
ioa ieIber heueeh", iolt idOn Gin
nttes idtpGbii1es Sprid)mort INN
oos mltB ipohr icin. Sic baben alio
lbre @ette perIoren. 3ie Sta0t
lieQt oui elmer rSniet I'M Bo0GnicC
uno lit ourd) cincn Gilenbabnounnl
uno @riide nit ocnl ~6eItIanoe per
bunoen.
Jrau u. Sd. in 5. e. Wo. @e.
nib fam i'd es neritcben, 6nb 1b-
nen manhmol Die 8erhaltlliiie lnter
oenen Sic gu lebcn buben. oriiden0
uno unertrdqlih iino unb Gle idmcr
oorunter 5u leioen baben. lber g.
Iin6 Sbneu ooh audi idpn man-
de ireuoen erblilbt unb nas @liid
mirb lid Sbnen bolo wieocr
ircunoIi1l 3eigen. g9ie iogte ocr
boperiihe Iid]ter Stieler:
.Gs lit ttir 9'fno Der @eIt 10 iteil.
Iob ibn nid)t Nlumen lhmudelt.
Tur bos bIeibt unier eis'nes IbelI.
Sap mir iie piliiden."
5. 9. in @, Winn. Ter ,3un-
genfrebs, ueIder 9Ieihioas cine
art Wil3hron0 III, 5eiqt iih ourd,
Geifern aus Dem WtnuIe, 0ltrh ln-
ruhiees 0enebnten. ourdI groRe Sc
i1mulit Der j3unge, fpeldle nit bic.
lem Shleim un6 @eier be6edt 1T
Che bic stranfbeit nod 6elltlid aus
tridt uno ieGbit oonn nod. tpern it
id'ou i'm Gntiteben lift, friBt ind
imIft Dos 1hicr. nnihcineno ioqar
nlit m9opobnliter Re,ieroc. In.
tcriudt NON oos Wapl, 70 iin0ei
man ouf Dem @ruuoe Der 3un9e.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

5 lit cine bSFu.m.
te Sadc, 0a6
ell l|Itertuarcr
un0 b0uiIQ redlt
~oufi0aiger lin
tcrihie0 5luiihcn
ocn |GlH5eiHcn
ShlerCn bcltebt
III @c5ug oar.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

j. SO. IN q Sa. Gie llriud1en filr
jous 2cgen pon0iern obneS 6n!e,logc-
nanutcr SlitBcier, fonncn uerlhic'
0eile lem. SIT Der Wangcl an aaIt
IN Der Rnbruno bic llrlodle. mie oft
rel Den I'M gebcgten Hoinn qeboltenct
$,iibncrn uIlo bel cinlcitlDer Suite.
rullq nit WoiS uno fD~crlte, 10 bilit
9lusitrellen Don Serfleincrtcm staff
mortel, nit Dem Neil gehadtcr Hno-
den, ult0 niel @rituiuttcr. Sdluf,
lSrns. slice, 2l3crn rcdlt baIo osnl
llebel ob. Mud beiouoers itarte ScAes
th1tigfeit illhrt IdIIeBlldD 8u genoun.
tier MISUNDERSTANDING Der ST.
Ihilnungsitoife. abiperrcn Der &enle
lDom @obn III Damn eiu Gltte5 Wtlttel
I'M Die @enne gum 3cltnelligcn Gin.
lttaen o0er &~erlnnglanlcn Der Se9c'
ibltigteit ji hrinaen ut0 onnrit Belt
SIR Grbolung 81 geberl. Sd)IicBlidj
1T hnuflJ &erieitung Der Crdone oil
llriahc. &ie Die beIttt WtIldlflibC
Inno MiIf3iegcn maaer 'inO uno Ildl
odumelten", mie man l0If. 10 3eidlncll
'ih aud Die bciten 2eachiibner, ieltii
tei Den groBen idlnereu Nnilc1, olrdl
gertngen 6leiidaniab um0 6ur6 Eeb-
bofttgfeit aus iic ltno itets 5rilbdui.
iicber mo gehen ON ipdieiten IN Den
GodtItnll. ireiien uuo iuden am mel
item nnb perfctten oodI niflt. 0ier'
an ~ertenen mir bic beitcn Geger aud
ohne X%egetontrolle nit ,yoaenueltern
iieic 9ennen pilcgcu feline 5licBeier
i'll Iegert, IS lei 0enn, DAB porgenomn,
C beioen llridhen DorIiegG Uii
3unebmenOer 5leiidfiiGe uno fSettnu.
iac nimnt Die 2egctbatigfeit ob, ia,
mentlid) tritt baum oos GliebeierGeaer
al6 Bor3eid,eW nuf iitr idllieBIid
gdr3lihes Nnfboren Observation-Disclosures
uno gor Gingeben folder 8iibmr
Gnnn ba6en mir ole iihcreS Semi
8cidlen, 0oB Dos '6uhn III Den 1opi
GcFort. jilblt nidn Die Snofenipi.
te 0eitlif ourh Die Saut, 70 fontutel
Ole oorQenornteu beiocn llrinhe,,
o0er cine Der beloen fir oos Sliebei.
erIeqen IN 9etroht. 6~cttpolitcr ou'
Der a~nofenipise, DIE oeltfildl init ben
SINGER gu iitblen uno bcreqlth iin0.
orn beiten 6urh pcrQIeihenoes 0etn,
Zen an mcbreren 5iibnern ieititeacr
lalien. 5eigeu an. oar eos Nltbn &c.
idllodltet me: cen mlso "a onoerc .fA'
t'licperinhc oes 5liefelcrleQcns a,ebr
onec mGliGCr 3metlos iiEo.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31
BUR 2~5e9dmptun9 ser
9oterpfo9e.
CIR Den Sanorntb ~gcidrieben uuu
y. SnnHtHg.)

II @ofcr lit Gin
ihlaue9 mo
b%artnadI1C5 9ta-
getbtcr, lueltleS
beoelltenoenSha
Den III SEN Nm
pflan6unden OcS
6drnlers an-
rihtet mo
Iebr idllper 0lrd)
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

lie Gle bobcn
Hreiic, bie int
lebten 0antia
~9ungstag be5ablt
iuuroell fir Eu-
ten, lie6 III rltan-
DEM iid)ter Den
@unid aufitei-
gen iih nlebr fir
Die 3uht oieies
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

it eingehcn0en
ltnteriudginge IL
I'M ben lplrtb-
ihaftlihen&ertb
oes 8runfuttcr.
baue8 mo 6es
4nbuues ioniti.
ger ~icftrcicber
Suterpflon
Observation-Disclosures
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31
23rtefRa(ten oes Sanorat6s.

af 2unprbhfb yNde gmnNn nabnb bier brtuuonm ntpoht gSm b m 0nmub mmMh
mMth NIT bent mas mb mil G fMt gaunurnenN me our Sdhh mn mb hh r babel bic hembhMa
9Gnwe NuWFe Der gfmmen 6atMnt unwr um2 ga mirtb biz dali 81 d. uIee elmer Der anmmun S
9m3n 2aMa anmbue 3uMtm pabnm baIdnbWt abue:
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

e. ". III 81, Did. Sic Sc
icBc gegen Die &crfGIihung bon Sc.
bcnsmitteIn limo itreng geliug, uur
nit ibrer 0urdiiibr,ug bopert es.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1916-03-31

90. u. in g, Ninn. Die BON
ser Rullen 5eritorte o%ltprcuBiihc
Stuot Rogait. Oeren g%Sic6crcribnt
Die Geltih : Anterifoner iibernonl.
men boben, Iiegt im Hegicrungsbe.
3irf @nmbinnen mo bat ungefohr
5000 Ginlpobner.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22
Autobiographies
of the Players
KITTY O'NEIL

My father, native of Tipperary Coun-
ty Ireland, was educated in London, Eng
land, and became we'll known as a news
paperman and lecturer.
My mother was an Australian, whom he
met and married in San Francisco. The
couple went to Honolulu, for their honey
moon, and liked the country so we'll that
they remained there a number of years
My father was a warm personal friend
of King Kalakow, and frequent visitor
to the royal palace. He was one of the
pallbearers at the Kings funeral. He
took great interest in the "Rauakas"
(natives) and wrote and produced the
first Hawaiian play.
The Hawaiians are naturally musical
the Queen herself being n rare musician
and composer Few Americans know that
she wrote the Hawaiian song, "Aloha
Ohe," meaning till we meet again." She
gave my father an autograph copy years
ago.
When was six years of age, we moved
to Seattle, Wash. and a few eyears later
located in a small mining town in British
Columbia, Canada. The place was having
a boom and the cost of living very
high. There We're only two pianos In the
town, and when | expressed my desire to
take up music, learned that had to pay
90 cents an hot for the privilege of
practicing.
My lessons were very infrequtnt, hav-
ing to depend on a strolling musician that
visited the town occasionally. so / might
say l was self-taught, I also learned to
play the guitar. At the age of ten /
was playing the piano in the local orches-
ira and the big pipe organ In the church.
Two years later the choirmaster died,
and ] was made choir director, a position
| held until / was 16. In the meantime,
/ had developed what my friends called
a fine voice, and retired from the choir
to join an opera company. Later be-
came identified with the Savage Opera
Company remaining with 1t several sea-
sons / then went to Boston and studied
the plano at the New England Conserva-
tory of Music.
Completing my musical education, I
entered vaudeville, doing singing and
pianologue act Manager Grover. of
Lost in New York" saw me and offered
me the part Of Peggy in the play.
hesitated, as r-y experience had been
mostly in the concert and operate field,
but Mr. Grover prevailed. and after /
played t'n role, he declared l was a
find" am very happy.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22
Another Pantornimic
Artist of the
Dance

During the past two or three years,
since the dance craze has overwhelmed
almost everything else on the stage, it
was accepted that the limit of novelty
and newness had been reached i'm this art,
but it remained for Mildred Macomber
who is making her first appearance in
this country this year, to introduce some
thing entirely new and unusually novel
in n combination of dancing and acquatics.
Miss Macomber, who will be seen at
Keths next week. comes from family of
pantomlmists and is recognized as "a
marvel in "silent-actlng' throughout
Europe where her greater success has
been attained. From the time she was
able to walk, this girl studied the art
of pantomime and dancing and so clearly
does she tell her story without the use of
a single word that 1t is not necessary TO
read the program to find out what ii is
all about. Whether 1t be in her "Classique
Dance" when she appears like a breath
from the clouds and gives a real atmos-
phere to the beautiful picture. or when
she tried to learn the nationality of the
strange young man who so mysteriously
invades her domain, IL is the same. There
is all the tenderness of the young girl in
her love-malking and all the fire OF the
tragedienne in the tragic parts OF the
pantomime.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22

as in Die Leibestod" of "Tristran and
Isolde"
Lehar has done the same thing In his
operatic music. Although the first strik-
ing example this country has had OF the
new treatment is in alone at Last" 1t Is
because his former operas In this country
were not conducted according to the orig.
inal score When I was given the score OF
alone at Last" by the Messrs. Shubert
to get ready for production, they granted
my request to present II as Lehar had
written it, thing to which few managers
would have consented. l was forced to
make one concession to the custom OF
musical productions in this country. how
ever and that was to introduce the chorus.
The original score called for no chorus, so
that l had to form it from Lehar's melo-
dies, but i'm doing so / followed his style
of harmonic treatment. In speaking or
my intention of presenting the opera ac-
cording to the original score to fellow
conductor, he was astounded and pre-
dlcted a complete failure, averring that
the American public would not appreciate
it and would not accept 1t. Fortunately
his prediction proved of little worth,
though confess that / felt secret fear
that he might prove correct.
Except in the music of Victor Herbert,
the composers in this country have paid
but scant attention to the harmonic treat
ment ana tTe DEMONSTRATION Oh Inelr OpeTdSi
as result of which the American public
has been fed musically on just tunes and
melodies. There has been absolutely no
musical coloring; they have been mere
pen-and-inR sketches. Lehar's operas are
musical paintings
Many difficulties were met with when
alone at Last" was first put in rehearsal.
The nature of the music demanded prn-
cipas with trained and tried voices. 1t is
not an exaggeration when / say that
nearly 100 candidates were examined for
the roles now sung by Marguerite Namara
and John Charles Thomas before these
two splendid singers were chosen. The
chorus requirements were also very high,
and from the first there was constant
elimination of voices.
l have no doubt that the example set by
Lehar in devoting as much attention TO the
orchestra as TO the voices. and the CO.
ordination of the music with the action of
the story will have tremendous effect
on American composers Of light opera,
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22

lie, for they have not only accepted but
supported a distinct innovation in the
realm of light opera.
Many of those who have heard the won
derful music of the second act of Alone
at Last have accused Lehar of plagiariz-
ing the music of Richard Wagner. This
Is not true, for It is distinctly Lehar,
though the influence of the modern ro-
mantle school Of music in the harmonic
treatment of the themes and the use of
the progressive tonal scale are discernible.
To the unframed ear this, of course,
sounds like cacophony, but as one becomes
more acquainted with the music, or to the
one who rs accustomed to hearing more
than one theme treated at n time, 1t will
be found that Lehar never abandons a
coherency of melody. 1t is the substrata
on which he has worked an exquisite musi-
cal embroidery.
III Lehar in this act, and especially in
the third scene, in which he followed the
two principal characters of the opera to
the summit of the Jungfrau, has found 1t
necessary to employ the orchestration and
harmonic treatment that Is usually asso-
ciated with grand opera, he has done 1t
logically No matter how little one may
care for highly developed music, one would
be offended II when Franz and Dolly
reached the summit of the Jungfrau Lehar
should have presented music with the
rythm of popular one-step or foX-trot.
These two. with their hearts crying their
repressed love, leaving the sordid. scandal
monKering crowd below them ascend to
the glorious heights of the majestic Jung
frau. where in the sublimity of the clouds
they are free to speak their love, their
hearts untrammeled by the base conven.
tionalities and motives of the pigmy world
beneath them. Could Lehar have expressed
himself any differently than he has IL he
wished to interpret their emotions and the
glorious scene about them by means Of
music2
AS Franz and Dolly left the common
place and ordinary, so did Lehar in his
music. The music is symbolical of the
Isolation. of the characters: merely one
low. and that is the recurring phrase of
the Alpine call sounded on the French
horns Musically this scene is the most
ambitious that has ever been attempted
in light opera. In this scene and in the
harmonic treatment of the melodies
throughout the entire opera. and also in
the attention bestowed on the orchestra
tlon, Lehar becomes as much a revolu-
ZIONIST to light opera as Richard Wagner
was to grand opera. Before Richard Wag-
uer burst all musical traditions in grand
opera the voice and melody were pre-
eminent. the orchestration merely means
to an end, which. especially in the Italian
school OF opera. was to display the singer.
However. Wagner changed all that and
gave the orchestra as important a place
IN the score as he did the voice. and in
many Instances permitted 1t to dominate
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22
Will Deming Be
Poet Laureate?

The following Is the application made
by Will Deming which secured for him
his summer engagement with Manager
Walter Baldwin, Of the Baldwin-Melville
Company.
Mr.. Baldwin. let me say.
Having nothing on today
Cold outside, can't take tramp.
Have to spare two-cent stamp.
Just line to let you know.
Things with me are rather slow.
Though I've hustled like Turk.
Still you find out of work.
Advertised Dramatic Mirror,
Situation not much clearer.
Got some wires. two or three,
Manager sent them c. o, ID,
Had offer. wouldn't go
Well-fed komedy kompany show,
Could have Joined a gang of fighters,
or Dugan's Dizzy Dime Delighters,
Hope your plans have now matuTed,
This suspense I've long endured.
IL you'd keep me out OF hock
Organize another stock;
Put me on your comic stan,
l long TO make the people laugh.
Won't take up your busy time
With this d-n bad doggerel rhyme.
Just remember, II you will,
WIN Deming. known as Bill.
Who wants to join your little flock,
The famous Baldwin-MelYille stock.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22
The Optical Look

TN ALL our kindergartens. and
L primary departments the teach
ers make much use of pictures.
They must use pictures or they
cannot teach anything. Pictures
are always attractive; one can
read them so rapidly. There is
never any brainfag in learning
things we can see and grasp at a
glance. That's why the movies"
have taken such a strong hold
upon the people-it's so much
easier to read the story in pictures
than in a printed book Billy"
Sunday.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22

music iONeT anu tne
Individual whose mu-
steal diet usually
consists of mere
tunes. However, the
novelty Of introduce
ing music in a light
opera that approach
es that of grand
opera has quite con-
founded many thea
TRIGGERS. even though
II has pleased them.
The success of the
opera speaks we'll for
the open-mindedness
of the American pub
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22

There Is something about the music of
~Aione at Last" Franz Lehar's light
opera, that has attracted both the real
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-22
AMUSEMENT
SECTION
HARMONY AS WELL
AS MELODY IN
LEHAR'S MUSIC
HAI6he at Last Brings operati.
composition Almost Wag-
merriam in Type.
By eAETANo MERoLA

Gdefdno Merotd, scho toas formerly
conductor at the Manhattan Operd
Honse under Oscar Hummerstcin, IS
ssofd conducting Frdns Lohdr's ope-
reffa. "4lone at Last" noio at the
Lyric