davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
At the Theatre Last Week

is technically very interesting. at is well
made" he says 1T leads up slowly,
stealthily and deliberately-as was the
fashion two decades ago-to its big scene.
1t talks us along to that When it reaches
It's ooal, it exerts itself to be brilliant,
rapid and dramatic"
The two stars were especially liked in
these new-od parts. To Louis Sherwin
in "The Globe" for example, it seemed
that John Drew was never better in his
life than he is as Lord Quex." And, in
the words of Louis V. De Foe, writing in
"The World" Miss Ellington "was more
successful even than Miss Vanbrugh"-
who will be remembered by some theatre
goers as the original Sophy FuIgarney.
A MOTHER offering, which achieved the
"A footlights on Wednesday, at The
Playhouse, was Henri Bernsteins "L'Ele-
vation," staged by Grace George and her
associate players. OF this drama Ralph
Block wrote in The Tribune:
"The war, Young as it is over here, has
dropped distilled acid on the souls of all of
US. To the raw surface it burns more deeply
every day. and such play as L'Elevaton.
which renews the company at the Playhouse,
comes with an irresistible power of purga-
tion. In the Bernstein that adapters have
allowed US TO view, transferred heretofore
from the French stage to our own, theatr-
calism has always held power over dramatic
intensity; the values and nuances that make
for more convincing picture of the human
scene have always been sacrificed to the
mechanism of dynamics and of smashing
i'm xes. 'LElevation,' presented at The
Playhouse without change from the text
that found its way last June to the Coincide
Francaise, is drama of suspended cadenees.
There is not one moment in which it spends
itself. 1t is the potential gesture of our
common present tragedy, always imminent
II is the hand Of war raised to strike power
fully, and falling only to rise and beat again.
Behind its silences is the sound of drumming
guns. And though it is the drama of life
surrendering its love and its blood, it Is even
more the drama of life recapturing a terrible
sincerity, without which it seems life finally
can be of little worth.
"The heights the three figures win to are
peaks they seem accidentally to discover at
the close of their struggles rather than goals
they have consciously set for themselves
The result is warmth and a power and
sincerity that are rare in the theatre. Under
all its quietude and restraint, L'Elevation' is
drama of a power Broadway is not often
given TO see"
1.-THE Herald" found the play gloomy,
but we'll acted" and Mr. De Foe in "The
World" expressed the opinion that the
event comprising its first presentation to
all American audience was a notable one
Alan Dale thought Miss George did the
best work he had yet seen her do, while
Mr.. Reamer found her acting "splondidly
natural and sincere"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Chamber Music

THE first concert by the New York
Il Chamber Music Society this season
was given last Tuesday evening in Aeolian
Hall, and brought to the attention of an
audience which followed all the proceed
ings with deep interest two compositions
which, the programme announced, had
never before been heard in America. These
were a Trio in B fiat major by Vincent
d'Indy and "Deux Pieces en- Forme Ca
nonique," by Theodore Dubois. Mozart's
f. fat quintet for violin, two violas, cello
and horn and Wolf-Ferraris Examiner
symphonic" in B fiat for piano, two violins,
viola, cello, double bass, flute, oboe, clari-
net, bassoon and horn were also played
The Herald" thought Vincent d'Indy's
contribution to the programme the most
interesting, the advertisement being wig
Crous in treatment, as was also the final
movement" The Chant Elegiaque, which
constitutes the third movement, "The Her
aid" found blessed with beautiful har-
monte effects" though it did not fully "sus-
tain its interest"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
At the Opera
TIME New York grand opera season
has opened. The occasion bloomed
- last Monday night. The place was,

TIME New York grand opera season
has opened. The occasion bloomed
last Monday night The place was,
of course. the Metropolitan and the opera
was Aida" Since this marked the fourth
rse Of the Verdi masterpiece as season
opener at the Metropolitan, more interest
attached to the patriotic features Of the
performance than to the music itself and
It's Interpretation, although keen interest
attached to this renewal Of musical ac-
ouaintanceship with singers who have be-
come in the vernacular and largely
through the ministrations Of singing ma
chimes secure household names
Pitts Sanborn, writing in "The Globe
thus concisely describes the part played
by "The tar-Spangled Banner:
"The programme conveyed information that
tho national anthem would be sung after the
second act. And sung it was, by the prin-
einals of the cast, Mrs. Matzenauer singing
louder than any one else. and Mr.. Caruso, who
,ead off music sheet, INTERPRETING high
notes. while Mr. Ruysdsel waved our nag and
a line of choristers waved the flags of our
allies over Afric's golden sand. The huge
standing audience did not join in especially,
but il sent back a hurricane response OF en-
thusiasm That signalized wartime opera
opening, as did the two American flags flank
ing the prompter's niche, fewer jewels flash
ing from the golden horseshoe, and uniforms
here and there about the orchestra and
boxes"
"The Times" thus Interestingly CONS
mented on the event:
"Mr. Gatti -Casazza indicated his pro-Ally
sympathies as an Italian impresario by stag
ing Americas special song on bigger scale
than had been done in theatre yet, with
volume of great voices worthy Of the premier
opera house Of the world.
"There was $4,000 worth Of golden tone,
equal TO many evenings war tax, when stars,
chorus and orchestra Joined together in last
'1and of the free" Caruso alone holding q
prompt book while he sang, never so earnest
~, and taking his high Cs, which some said
were just flats, one after another, in that
closing refrain. Muzio and Matzenauer, both
letter perfect, and the former Austrian con-
tralto in especial sending her English words
clear to the gallery, were supported at ex-
treme right and left by Amsto and Mardones.
Conductor Morsnzoni even Joined in the last
recalls"
But to return to aida" Although, as
has been suggested above, this opera is
not exactly a novelty any more, its melo-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Reviewing the Reviewers

stage? Well one is brought now TO a new
milestone in Mr.. VOLTS career. He had al
ways wanted TO write for a living, and one
day after an hours deliberaton. closed VI
a suite of three Offices in the Mutual Life
Building, Buffalo, sent a large law library
into storage, paid six months rent on the
balance of the lease and moved TO New York
Two days later ne accepted position or
"The Morning Telegraph" at SIT week. and
has been theatrical reporter, dramatic editor
and critic Of that newspaper ever since, with
the exception of one year spent in Paris.
While in Paris he produced at the munich
pal Theatre de Chatelet a spectacular act
which was incorporated in the then current
musical production, LES Cling Sous de~Lava-
rede."
Now, Mr.. Wolf had always possessed an
ambition to be a playwright. His first play
was written Immediately after leaving col
lege. II was written around a title that APP
pesred on some advertising paper" left on
the hands of lithographing concern by a
defunct management The piece was en-
titled "Johnny-on -the-Spot," and was de.
seribed as "a Bill Nye farce comedy" The
author completed it in three nights, and re-
ceived for his labors $3.50, which, he assures
was swindle. The play, which had the
added advantage of a band and a street
parade, ran for three months, finally curling
up and quitting in Wilmington. Del
In the last six years this critic has writ
ten and had produced eleven plays, most of
them in collaboration with Claiming Pol
lock. Among them were "The Red Widow, -
"1he Beauty Shop" "Hell-A Satire" my
Best Girl "Ziegfed Follies Of 1915" Her
Little Highness" and "A Perfect Lady" One
OF his plays. "The Grass Widow" is At this
writing playing in Philadelphia. Another
The Rainbow Girl" is now in rehearsal, un-
der the direction of Klaw g. Erlanger Still
anethsv--|'rhs bssutifui ons"--i. TO be pro.
duesd this season by Conan 4 Harris.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
EDDY BROWN

PRONOUNCED ain all respects an ex-
Il cellent and in many respects an un-
usual violinist" by The Tribune, Eddy
Brown delighted large audience in Car
negie Hall Sunday evening, November II.
"The Herald" found his remarkable tech
nique" the most noteworthy feature of the
occasion, adding, however, that "his pro-
eramme was not without real musical in
terest' "The Evening Mail" thought that
a great many of Mr. Browns hearers must
have come especially eager to hear the
Debussy sonata, never before given in
America ut turned out" declared this
paper, "to be a most fascinatinely original
composition, approaching Stravinsly and
Schoenberg In the freedom Of It's har-
monies, and having apparently little in
common with the classic sonata form. It's
huge difficulties were imprcssively con
quered by both Mr.. Brown and his pianist,
+. r. Gutenberg" "The Sun" observed
that Eddy Browns playing contained the
familiar qualities 81 his style, technical
hnish, good tone and taste being features
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18

z Asst week was pretty strenuous.
There were more openings than
~ can be recorded here, and the offer
ings were diverse.
First of all came John Drew and Mar
garet Ellington in "The Gay Lord Quex,
at the Forty-eighth Street Theatre. The
play is an old one which has been lately
revised by its author, Arthur Wing Pinero
the revision designed to bring it more
within the mood Of present-day theatre
eoers. though the text, it seems, stands
practically as in the former day.
Il was observed by John Corbin in "The
Times" that, whereas to many in the
audiences which gathered to see it when
it was brand new "The Gay Lord Quex'
had way of appearing "far too immoral
for good folk TO 90 and see," what now
impresses the beholder is not so much 1.-The
immortality of the people on the stage as
their shadowy unreality. For" he con-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Q BOns eeantSi

.N2AIMENT, vous rebatiriez ayec nous
nos foyers detruits!
81 vous lie faites, nous vous aimerons.
Vous feriez lure encore la famine fans
Patre noir de mutt
Vos larges mains releveraient nos naisons'
o bons geants, saints Christophes DC
legende
II y la Bible ct PEvangile dams yos ceurs
ct phosannah!
Ii va lie sens profond du divin.
ct de Phumain, ct de l'humaine dignlte.
II ce sentiment d'ou naissent les
larmeS,
Par lesquelles touteS les plates sont Wy
itees
Et aussitot queries, CONNIE CUE
charme
Vous qui accourez, qui ave. surmonte
degodt
De la bette d6ia entree en- corruption
Vous serez avec nous fossoyeurs ct mae0hS
Vous releverez IA cite ayec nous.
by French sergeant, addressed to ~
American troops in France From i~
Tablet.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18

dies, according TO "The Evening Sun
"are ever attractive to a majority Of opera
eoers. From first to last they flow steadily
here and there, beside the Nile, giving the
singers plenty to do, with voices like that Of
Caruso having some Of their greatest mo-
nents And throughout the performance last
night interest in the old story did not seem
TO slacken, nor was there the slightest let
down OF artistic effort on the part Of the
singers"
The principal singers Caruso. Amato,
Ruysdael, Miss Claudia MuZio, Nine. Mar
ruerite Matzenauer and Nine. Marie Sun
delias. we're generally praised. Although
some criticism attached 70 the singing OF
the great Caruso during the early stages
Of the game, it was felt by most of the
critics that, quoting phrase used In Inc
Herald" "his voice has lost none of its
golden quality through his season Of sum-
mer opera in South America"
In one paper. "The American" were
thus summed up the musical and visual
delights of the evening:
"The golden radiance Of Caruso's voice the
charms of the young and beautiful Claudia
Nuzio. the luscious mellowness OF Margarete
Matzenauer's contralto, the dramatic potency
Of Pasduale Amato, the clear, round tones OF
the new Spanish basso. Jose Mardones; the
sturdy manliness of Basyl Ruysdael, the
photographic appeal of little Rosina Cali.
the splendidly virile and exquisitely shaded
singing of Giulio Setti's chorsters, and last
but not least, the rhythmically energetic
and forceful playing Of the orchestra under
Moranzoni's spirited baton combined to make
it a notably impressive one
1.-THE Evening Post" recorded bit Of
history in connection with the writing Of
aida" which will probably come as fresh
news to most readers. 1t seems that
'By an odd coincidence, Aida is connected
with one Of the European wars against
Prussia. Verdi, as is we'll known, received
$4,000 for writing this work for the opening
Of the new opera house in Cairo. 1t was TO
be produced at the end Of 1870, and the
scenery was being painted in Paris. Then
came the siege and capture of that city; the
scenery could not be obtained, and the operas
premiere was delayed a whole year. Verdi
was one of those who believed that Italy
should have come to the assistance Of France
at that time. In letter written after the
war he declared that with the aid Of 100000
Italians France could have routed the enemy;
and he roundy berated his countrymen for
not doing their duty. The tables are now
turned"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18

'nued. "instead of being too thick they
were. with one or two exceptions, far too
thin"
To 1.-THE Herald" it seemed "a relief to
see play so thoroughly and aggressIYeiy
theatrical" And further
an is a model Of conventional form OF the
theatre, in trying to get away from "nleh
some playwrights have weakened their proc
uct. It's formal and deliberate manner OF
presenting its plot and action seemed at hrs'
trife stiff, but everything led straight Tor
ward with absolute precision, and no WORDS
wasted to the famous boudoir scene IN the
third act"
But Alan Dale told readers Of The
American" that the piece had lost lustre'
"The dialogue" he wrote, which years
ago we thought so witty, so poignant, SO
narvellously adroit, has grown musty and
insipid." Yet in spite Of present sleep
provoking elements, the refurbished play
Mr.. Dale agreed with the critic just quoted
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Current War Poetry

I MY giant form Knocked at by puny craft
That puff and wheeze in childish impo
tence?
Use me, o Country that is now my own
Fill my deep bosom with the nourishmenl
That starving children cry for overseas!
/ I ache for action. Oh, TO feel the waves
Again salute me with their foaming
crests--
The wind, that long has whispered in ny
ear
With low, persuasive murmurs as lay
Supne as Hercules at 0mphale's knee
A sudden changing TO a comrades voice.
Shouting a stormy welcome as come
All, might thus vicariously atone
For wrongs committed by those war-mad
men
Who formed me, launched me, sert me TO
your shores!
Where they have starved and beggared,
let me bring
The saving grain, the stores Of clothes and
arms
/ The ardent men who sail to save the world
/ From tyranny and torture and despair
They cry, More ships" | hear them IN
my dreams!
wear your colors, and the fighting gray;
The tide of Fate is rising@let me go.
FLORENCE Van Cleve, in The New Yms
! Times.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
The Wars Art

81 very much doubt whether il will do
ANYTHING of the kind" said the Critic
THE student of history will read all about
the war in his textbooks and Will form his
opinions from what the historians tell him
The museum full of odds and ends will
teach him nothing of real value"
But the museum will provide the illus.
trations TO his textbooks. That seems "a
me its function" argued the Plain Man;
"and that will be its chief value"
"Ah. yes, that should be its function,
declared the Critic, "but it is a function
which cannot be fulfilled unless the M.
scum records not only tie facts Of the var
nut the sentiment also which il aroused
throughout the country. 1t is not only
what the nation did, but what the nation
thought. that must be preserved for the in.
struction Of future generations"
How is that to be managed" asked the
Plain Man.
THE only way, imagine, is by gather.
ing in the museum as many examples as
possible of the art which was inspired BY
the war;" replied the Critic. I'VE must
have pictures symbolical and realistic, war
posters. photographs and drawings; We
must have the sketches Of the architects
and sculptors and their designs for me-
mortal works: We must have medals, rolls
of honor, portraits Of men and women who
were prominent in the years Of stress
every sort of artistic production that bears
anv relation TO the war and to the life Of
the people during the period over which
the war lasted"
"That is right" exclaimed the Man with
the Red Tie. "That would be the only mu.
scum worth having"
eyes and that would be the only sort Of
museum which would remain for centuries
as a living interest" continued the Critic
eft would be an abiding assertion Of the
character and spirit Of the nation, and Il
L were done worthily and with sound iudg
ment It would be the greatest war me-
mortal that we could possibly erect It is
what the country suffered and endured in
its wears of trial that our descendants must
be made to realize, and it is the way in
which these sufferings were endured by all
sections of the community that we want 10
nut on record" THE LAY FIGURE.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Joseph Bonnet

TINE first organ recital in a series OF
i've designed TO cover the develop
ment Of organ music over a period
stretching from the early sixteenth cen
fury 10 the present time, was given by
jSseph Bonnet, Of Paris, in the ballroom
at the Astor on Monday afternoon, No
yember ~.
This programme covered works by An
drea GABRIEL, Antonio de Cabezon, Paes.
trina, Sweelinek, Titelouze, Samuel Scheidt
Frescobaldi, CouperiD, lie Begue, Buzte
rude, Henry Purcell, Pachelbel, Nicholas
lie Gri2ny, CIcrambault and concluded with
q brilliant fantastic and fugue in g minor
by John Sebastian Bach. II was pro-
ropncsd On event Of unusual musical i'm
pestsneS
A. fer ths Interpretation Of this inter.
s1zax sssartns1t Of brebalcs. sntauIiaGn
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
From The international Studio

From The International Studlo)
f<VVIHAT do you think Of this
W great museum as a memorial
Of the war;" asked the Man with the Red
Tie. Does it strike you as happy idea
"Yes. certainly; it is quite good no.
tion," replied the Critic. But whether 1t
is a success or not will depend entirely
upon the way in which it is carried out
the best of schemes will go wrong if their
details are not properly considered"
81 do not see that there is much that can
20 wrong il. this one" broke in the ram
Man: sit ought TO be very simple matter
to collect and classify the many war relics
that are available
THAT is not quite the point returned
the Critic. Il admit that to gather to-
pether war relics and odds and ends would
be easy enough, and that to arrange them
in some sort of order would be task that
would not tax severely any patient person;
but do you think the result would be salts
factory? Do you think that in that way
YOU would get the right kind of war mu-
seum?'
But, why not?" cried the Plain Man.
lis not the object of war museum to pro-
vide a record of the war; and is any better
record possible than collection of things
which have been actually used IN the war!
What could bring the whole thing more
vividly to our minds than contact with OBJ
iects brought from the battlefield ITSELF"
There are some of us, expect, who will
not care to be reminded of that contact"
suggested the Man with the Red Tie; and
am not at all sure that the general public
will be much interested in collection OF
scraps from the battlefield"
81 am with you in that" agreed the
| Critic; "and | believe that any interest
people may feel in such collection will be
of the briefest possible duration. The ordi-
nary man after he has seen it once or twice
will forget all about it"
"Surely though, it will remain as per-
manent attraction for future generations,
objected the Plain Man. an years to come
/ il will bring home to students OF history
the realities of the war, and will enable
them to understand what it meant to US
who went through it."
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Banners

("Tke national colOrs, NTH their
eqgIes, hare giren place to plain red
nqqs, one of uhich floats oUer the
famous Winter Palace, Where the
Den,a wiU now meet."-NeVspaper
cHpping)
WHEN on the sun-spawned earth
w First the mothering light
Dawned on her dark,
What stirred in the dark?
The brute was cropping there,
Lured from his rock-hewn home
By the reckoning spark.
A slow, earth-smattered thing,
With the smell Of the earth on his hair
His, in the dawn of the world,
His, in cave impaired,
His was the first great spring
To the red dawn, to the fire.
The caves are buried.
The mammoth-hunter
Is dust upon the dust he trod.
Yet here upon richer sod
The serf of later ages, burnt with toll,
Stood free,
And saw the fruits Of his own soil
Glowing like dawn.
And here the cities see
Among their clustering lights and smoke,
new days,
New freedoms and new slavery.
But now, as from beneath the deep earth
floor
The seed of flame beats upward, raging
higher,
Now breaks the noise of people reused to
war,
Who take their own like fire.
Their flag is fire:
Color of the red sun
On the horizon of the cave-man; one
With the color that is spilled over the
earth
In every battle, in every shuddering birth.
Blood of the beaten slave, of the faithful
crucified,
Blood Slapped from the worker, blood of all
who died
To nourish the new soil wherefrom should
spring
The unknown desired thing.
This flag a nation takes, to stud
The battle-felds with beauty.
Oh, when you behold it whipping in the
wind,
Color of dawn and of your own hearts
blood.
Soldiers,
Will you not rise
From earth-trench and sea-hollow where
you keep
Your tryst with death,
And wake out of your sleep,
And see with the cave-man'5 eyes
That the day is here, and this is the sun
rise.
Come, as the brute from the dark, with a
mighty leap
To the red dawn, to the light.
-Babette Deutsch, in The North Ameri-
can RevieW.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18

one-mie swimming contest. sThus young
Wolf became the hero Of his particular ward.
A more mature individual Of the same
name graduated from Cornell at the age Of
twenty in 1892, taking the degree OF Phi. B.
and graduated again from the Cornell Law
School two years later, taking the degree OF
liz u. During summer vacations he reports
having balyhooed at county fairs for vari-
Gus side-show attractions at the princely
ipcnd Of 81 day, thus gaining provincial
acclaim as an orator and providing a sink
ing fund for college uses. During the col
lcge course he rowed and participated in
many athletic contests Of various branches.
Then no moved 10 Buffalo and practised
Law.
But what has all this 10 do With the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18

sisted in captaining
the Ithaca Stars, q
b ase b al | nine OF
youngsters that never
lost a game in FIVE
years -- always work
ing in a ringer" or
two when the opposi-
tion looked formidable.
A still more brilliant
achievement, however,
according 10 his views
in those days, wac the
defeat of a bosstful
half-breed Indian In a