32 MUSICAL AMERICA January 1, 1916 now Sir Herbert, of course - helped that the two are mutually exclusive. me to make up for the part. He had There is room for serious and for light David Bispham Recalls Amusing played the famous role himself, and opera. But musical comedy was a danger he was anxious to have my make-up to opera in so- far as, being a paying and above reproach, for we were great comparatively long established concern, it Mishaps in His Operatic Career friends. had a tendency to draw to itself singers In those days-it was more than a whose right place is the opera stage. NE of the most amusing incidents in "Now you may step off, sir." dozen years ago--papier mache noses Webster Millar, the Manchester tenor, is 0 my operatic career took place on I never heard an audience laugh as were not in use as they are to-day. an example in point. In musical comedy Falstaff's huge, bulbous nose had to be his fine voice and talent for dramatic ex­ the opening night of a revival of "The loud and as long. But that was only one of the mishaps built up out of "nose paste"-sticky pression were utterly thrown away, for Flying Dutchman" at Covent Garden, of that same performance. It's a tradi­ stuff, very much like putty. the music of Mr. Edwardes's productions London, relates David Bispham in the tion among the German singers that If I do say it myself, my make-up was was as uninteresting and as little varied New York World. things never go right at Covent Garden. a work of art. But my costume was so as their titles. This was the cause of the heavy-! was padded out with a dozen Edwardes failure to establish a type of As you know, the Dutchman makes his At the close of the third act Senta is supposed to throw herself into the sea suits and a huge stomacher-that I was entertainment which will endure. If he entrance on the deck of a ship which is to join her lover. Well, the boat was perspiring copiously long before I made had possesed an ear for good music as so manoeuvered that he can step off on moored so close to the shore--the first my first entrance. However, the ap­ well as the eye for scenic effects we the shore and begin his song. The ship act setting is used in the third act-that plause I received when I went on made might have had English light opera to up for my discomfort until, in the midst is on wheels, and usually the stage hands Mme. Gadski, who was the Senta that supplement Lecocq and Offenbach. But he evening, was unable to find a space large of my most important song, I felt my had not even the courage to search for only have to push it about. But on this enough for her to disappear in. She nose slipping from my face! I tried to the men to give him the kind of music occasion one of the wheels got stuck in put it back, but without success. In he needed. Most of his musical comedies a crack on the stage before the ship had to climb over the boat, and then, the distance being too great to jump, she spite of everything I · could do it fell to had music which was trivial without reached the proper position and I was the stage, in full view of the audience. being in the least gay, while the quality left standing on the deck unable to reach carefully lowered herself over the rail and dropped to the stage. A titter began in the orchestra chairs of the comedy depended almost entirely the shore and begin my song. To jump and soon grew into a roar of laughter, on the skill of the performer. was out of the question, and to climb * * * · for in my efforts to kick the paste nose dowri and walk across the water equally Maurice Grau, the former director of out of the way my foot slipped on the Another success was scored by the absurd; so I kept my place. The con­ the Metropolitan Opera Company, was sticky stuff and I fell flat on the stage Philharmonic Trio in a concert given re· ductor threw down his baton and tore prodigal in some respects, but niggardly floor! cently in the Grace Reformed Church, hi s hair. The musicians in the orches­ in many others. When we went on tour, York, Pa. The members of the trio are tra, not knowing what had happened, for instance, he disliked to carry more While mishaps* were* *more frequent at A. A. Knoch, Allen S. Bond and W. L. began standing up and peering over the scenery than he had to. old Covent Garden than here in America, Rohrbach. footlights. The audience, of course, was One night we gave a performance of we used to have our share of them at beginning to wonder at the delay and for "Lohengrin" in Cleveland with stock the Metropolitan. I remember one per­ LUCILE a few moments it looked like a terrible scenery. The local manager had assured formance of "Tannhauser" in which I disaster. us that he had a river drop in the appeared. In the first act, you remem­ However, one of the stage hands came theater, and so our first .act drop for ber,· there are several transformation heroically to my rescue. In full view of "Lohengrin," showing the River Scheidt scenes while Venus tries to persuade ORRELL' the audience he placed a plank between near Antwerp, was left in New York. Tannhauser to remain longer with her. 'CELLIST the shore and the boat, and in an audible Imagine my surprise, when I turned When the drop curtain was raised to re­ lUnnagement, R. E. JOHNSTON whisper announced: around after finishing my first song, to veal Leda and the swan I was dum­ 1451 Droa<hvay Ne-w York Clt7 discover the River Thames filled with founded to see a huge stepladder lean­ boats as during the regatta week at ing against the Wartburg. The stage Henley! hangs had not been quick enough to LYRIC POEMS * * * remove ithand there it stood, leaning up Marie Narelle The first night I sang Falstaff ~~ against t e mountain in all its yellow SOPRANO FOR SONG USE Covent Garden, Beerbohm Tree--he IS ugliness. Impersonator of "ADET,AIDE" In Mr. Blspham'e by SARAH SHATFORD Famous Sketch. "BEETHOVEN" " KATHLEEN COMAN . Manage ,.ent R. E. JOHNSTON Personal Representative, Laura D. Wllck Mme. Matzenauer and Ferrari-Fontana though somewhat handicapped by a Pianist and Accompanist 1451 Broadway, N. Y. Longacre Bldg., B'way and 42nd St., N. Y. Delight Providence Hearers slight cold, nevertheless gave a splendid account of himself and sa,ng with typ­ H PROVIDENCE, R. l., Dec. 24, 1915.-The ical Italian fervor, governed by artistic E WITHERSPOON opening concert of the Steinert series restraint. Gennaro Papi was a most ca- HUGH AL,LAN R of four to be given through the winter BASSO, Metropolitan Opera Co. pable accompanist. G. F. H. B enlisted the services of Mme. Margarete Distinguished American Baritone Available for Concert, Oratorio, etc. E Matzenauer, the noted mezzo-soprano of George Edwardes' Influence Upon Light Management Management Wolfsohn Musical Bureau R the Metropolitan, and her gifted husband, Opera R. E. JOHNSTON, 1451 Broadway, New York CltJ 1 West 34th Street, New York City the tenor, Edoardo Ferrari-Fontana. T Studios: 148 West 72nd Street, New York City Although it was t he first Providence ap­ The death of George Edwardes is a MARYS. pearance of both artists, their fame had fatal blow to musical comedy in London, LOUI!J:BI preceded them and there was a large says the Manchester Guwrdian. His most audience to welcome them at Infantry serious and most intelligent rival, Rob­ MERTENS Hall on Sunday afternoon. Of such an ert Courtneidge, is committed to ope1'a WARFEL CONTRALTO artists as Mme. Matzenauer it is difficult for some time to come, and it would America's Harp Virtuoso Concert-Oratorio-Recital "A contralto voice ot rare charm and beauty!' to speak calmly. Such tone and such not be in the least surprising if the Management: Management: MRS. HERMAN LEWIS phrasing and the absolute control with musical comedy furnished by Mr. Ed­ R. E. JOHNSTON, 14$1 Broadway, New York City 402 Madlllon An•• New York. which she handled her superb voice were wardes were to set just as English opera Phone 2890 Murra7 Hill. lpwm z. zwl -- . .. truly a delight. Signor Ferrari-Fontana, Is beginning to rise. It is not, of course, UIULES FALK STUDIO HALL VIolinist Management: Wolfsobn Musical 220 Madison Ave., New York Hurenn. N ew York C. llollunder Falk. Pe'"onnl Rep­ Small Theatre for Recitals resentative. 9G Firtb Avenue. Resident Studios - Studios to Sublet New York PAUL FRANCES NASH PIANIST DUFAULT Management: Evelyn Hopper TENOR ., 2589 Spaulding St. Omaha, Neb. Address, 339 W. 23rd St., New YortcCitt HINSHAW Telephone 7731 Chelsea L .I (WILLIAM WADE) SOUSA ~~~ BAND NOW PLAYING AT iJONAS N.Y. HIPPODROME T Celebrated Piano Virtuoso and Peda• 0 gogue of Berlin. Now in NEW YORK OFFICE, 1 WEST 34th STREET 43 West 92nd St. Tel. Riverside 8217 T elephone 6128 Greeley AVERY STRAKOSCH 35 W. 39th St., N . Y. City LAMBERT MURPHY SCHUECKER TENOR CONCERT HARPIST Mr. Murphy will be available ror Concert, LYRIC SOPRANO Instructor of Harp at Carnegie Institute oC Oratorio and Recitals during the entire y Concert Recital Oratorio T echnology, Pittsburgh, P a.