Chicago Daily Tribune Newspaper, January 25, 1874, Page 6

e THE CHICAGO DAILY TKISUNK: SUNDAY, JANUARY 95, 1S74. — e e e o them this remunoration. 1¢ tho houses wero | Fast; s strong_dramatie compaay, with T. J. | VeruLorinl, Castrl, Gordier, orensl, Stephand, | oporas, Norma,” and “Scnnambalar ITALIAN OPERA. Max Strakosch on the Wit- ness-Stand. A Morning Hour in a Manager’s Room. How Engagements Are Made with Singers. Efforts to Stop the Monopoly of Prima Donnas. What It Costs to Bun an Opera-- Reecipts. for the Last Two Weeks. The Pay, Perquisites, and Whims of " a Prima Donna. Trials and Tribulations with Pro- fessional and Amatcur Agents. Rank of Singers---The Most Success- ful Lady-Killers---The Chorus. Jealousies Among Performers--- Rival Zlanagers. The opera bas gone, and we wonder what our uext esthetic treat is to be. We have grumbled ot high prices, and wondered why it is that in what are popularly termed ¢ tight times,” people will spend so much moneyon Italian opera. The prices are too high,” has been the popular cry for months. The same cry was justly uttered when the great easy-going fagent of the nervelces Maretzek came here. “ You muet re- duce your expenses, we cried, for we have re- duced ours. Now is the time for retrenchment ; suppose you set 8 conspicuoas example.” This wag what we wished to tell Maretzek, buthe aid not come here to give us the opportunity. Strakoach overbeard our remarks and lowered his prices about25 per cent. He has gone awoy bappy, because, while ke kas taten our dollars, he is more popular than ever. He bas given us our money's worth, and paid his expenses, besides trotting off with a comfortablo little margin to assure him that we do like Italian opera, and do not mind paying for & good quality of it. Aside from tho enjoyment Italinn opera affords, 1t is sn interesting field for investigation by the public. Few people have an idea of the manner in which a colossal operatic company 18 conduct- ed; few people appreciate the magnitude of the enterprise, or the requirements of s successful manager. The present, secason, whirh has been disastrons to the dramatic and, lyric stage throughont the country, and espedally g0 in the East, is a good opportunity for inquiry into tho management of Italian opera. The chance is Yetter, too, to-day than ever, for we ere able to writo from o study of ope of the best operatic companics that ever traveled through the Unitod States, and can form, by contrast with that which hns just lefc na 8 fair opinion of others. MAX THE GREAT. Max Sirakosch, the munsger of the Nilsson combination, is now in the zenith of his opu- lerity, having weathered s financial storm which bas wrecked o rival company, and he, therefore, doverves moro than a passing notice at our Lands. He is in many ways a remarkable man. Ile has been engaged in the business for twenty voars eud morc, and hss smassed s hundsome fortane. ‘This no one grudges him, because he has esrned ii, and that, too, by shrewd manage- ment, £air dealing, and a high sense of themoral obligationsof a managertothepublic. Physically he is 8 man in the prime of his manhood. Heis 33 years of age, but looks not more than 30. He is of medium keight, good figure, has & remark- ably landsome fuce, a very pleasant manmer, end a finely-formed hesd. There are not many men in the United States who can compare with him in activity of brain, courage, enterprise, or promptitede. Ho is & man who by his natural gifts, develeped by an excellent educstion, could shine in any vocation. French, German Englis, and Italian aro equally st his command, und, for all we know to the contrary, other lan- guages also. He is essentially of a nervons temperament, but possesses ono of those hope- ful dispositicns which, as Mark Tapley says ““come out strong’ when the prospect is the Joast promising. Keen-witted and sagacions, he oau adapt himself to all circumstances. From cantinual practice snd conflict with mankind (ard womankind) he can appear fo advantage to everyoody. He would have made a mark as s statesman’; as a commanding officer he would have been brilliant. Indeed, the army bas lost ono of the most gifted officers of the age. A MANAGEB'S TIME. Daringan interviow of some length, which will be enlarged upon heresfter, o reporter of this paper had 2 good opportunity to study him in his dezlings with men and women. Iu that time some thirty people must have presentod them- eelves'to Max Strakosch, ail clauming some share of his attention. Miss Cary expectod a package by express from St. Louis. Mr. Strskosch tapped his bell and sent down to the express offices to find ont whether it had arrived. Mlle. Maresi wished to discuss some matter of busi- ness,—studying s part, and a host of other tri- fles,—whilo one of the agents had something else to bave done—thoe psymentof abill In two minutes, without interrupting the thread of Alr. Strakosch’s narrative, both parties were at- tended to and wemt on their -way rejoicing. Cspoul came in fo have something explaived; tho explapation was on the tip of the maoager’s tongue; two news- paper-men wauted pasges, and were accommo- dated in the twinkling of an eye, the manager stipulating, with the most remarksble clearness, when' they should be available, and where the -seats should be. A card from a lady down- stairs, who craved tne privilege of Laving Alr. Strakosch’s opinion of bher voice, was sent inj the manager's Secretary was dispatched to attend toher. A chambermaid waoted a pass,—it was written out for her in a few seconds; a bill for sdvertising was read, and a check for the amount prompily gigned; 8 waiter wanted a pass, and got it and a pleasant bit of humor, and ‘went out iz high glee. The writer does mot pretend to snamerate all the wants whick wereattendedto in tke course of that interview. He only kuows shat Mr. Sirakosch did not once forget the last word be addressed him. or break the thread of iis own discourse. He spoke the four lan- guages mentioned above according to the neods f the person addressed, and always with a pleas- ant remark, which found a response in the smile thet was sure to follow. 3 tiy ot what e eary, the roporte Marvelin, atly af wl e Baw, -eporter sentared to E’:;gen that ho would have made a z00d genersl officer. “I amon the high road ;o militery glory,” he eaid. *‘A friend of mine ent me s Captam’s commission one day. = Idid aot know what to do with it, and wrote to him to :bat eftect. *Keepit,’ r?liud my friend; ‘ You ire ou my staff, and you do not know how soon 7ou muy be & General vourself.” Yon sce,” ho 1dded, “ that I am 3 soldier now, even though I am only & paper one.” 3 “ And how long do you expect to live under ihis pressure of excitement?” queried the re- po‘x:tfxl'l.nm Tived comfortably for twenty years this way,” caid be. ** When I am vell, I tnjoy it, but I've been troubled with pewralgia, Te- ty." " : e {’yu:l ought to be gray-headed, at least,” said “:.; ifv-:mgie a good beginning in that direction, ou see,” he said, and pointed to two or ‘fllmo groy hairs, © Bat I am young onough yet. Aund 5o, in truth, he appearcd to be. HOW OPERATIC ENGAGEMENTS ARE MADE. Reporter—How do you make your engage- ments in Burope ?. Jir. Strakosch—I think wo havo a8 good & By8- tem 55 any in the world. My brother Maurico, who is lessco of the Italions Theatro, Paris, has an oyo open for talent, and I think hrs good judgment, too. Ho looks ahead for any voico that promises well for the future, and then cap- tures it. Reporter—Where does he look for good voices ? Mr. Strakosch—Everywhere. Among tho stu- dents: in the smaller combiuations ; in concert- halls; wherever thera is a voice that strikes him, Reporter—And how long shead do you make engagements ? Alr. Strakosch—Three, four, aud sometimes five years. Reporter—Then what do you do? TAXING THE CHANCES. Mr. Strakosch—We take charge of the owner, orrather Le docs. He educates the promusing people and endeavors to develop them. Reporter—And do they alwave fill his expec- tations ? Mr. Strakosch—No, indeed. If we find one success 1 twonty peopls wo think we Lavo done well. lzoporlcr—Tbu rigk is large; don't you think 80 Alr, Strakosch—It is, but we ars repaid, or shall bo soon. Our object is to reduce the en- ormous demands made by the prima donnas and remarkable tencrs, snd we ~shall eventually succeed. OUR 8UCCESSES. Reporter—Who are your most assured suc- cesses under this system ? . Mr. Strakosch—TrE TRIBUSE mentioned them in'a very clover article some days ago. The two best known are Adelina Patti and Miss Cary, but there are many others of whom we are p):[ond-_— Minnie Hauck:, Sessi, Jedmay, Beloces, Maresi, and Bolval. AN ENGAGEMENT. Reporter—How do you make your engage- monts ? T Mr. Strakosch—They vary with different peo- ple. Sometimes they demand that a per cent- age of their pay be secured in advance; some- times half of it, sometimes moro or less. We Liavo o contract with Adolina Patti to come to tho Unifed States mow. It hus been running since 180, She promised to como in 1874, Lut she willnot. Mesnwhile sho pays us a forfait every year shio fails to come. By tho way, 1 have & copy 0f Lier contract with us, in French! I will read it to you. It reeds thus: Adelfna Pattl, resident in_Paris, snd by suthority of bor busband, of the first part ; and Maurice Strakorch, of the Eocond part. This bond wituesseth that Ade lina Wattl ereby engages herself to be in New York on the 15th of September, 1674, After sho has reposed bersulf from the fatigues of the vosage, she engages 1o shug in the citiea of the United States snd Canada, under the direction of Max Strakosch, who represents Matirice Strakoach, 100 nights i operas, oratorios, or conerts, according {0 the choice of Mr., Strikosch. "l represeutation i3 to bv two or three times a ek, as Madame Patti chooses. Madame Patti is not to eing on such days as shotravels,or in case of eickness, sne engoges heself to wng one Lundred nighta in ‘America, und Lier engagement shall be prolonged until ‘this 1a done. The operas which ara to be given are to be chosen by common conscnt, but they are to Ue those which sbe as sung fn London. "Mr, Strakosch engages himeelf to pay Madame Patti for each of these performatices 10,000 francs (§2,500), which are to be ‘paid to her after esch representation of opera, oratorio, or concert. In order to asstro Madamo Patti of the psyment of thia sum, ho cogages himself to give on the first day ‘of Marcli, 1674, & deposit of 500,000 francs, The sum will remain Jeposited with Roths— child until the completion of the contract, It will bo placed in such funds as will secure to ALF, Strakosch interest on the money. The traveling expenses to the United Statea of Madume Patti, ter husbund, also two Other persons of first and two more persons of second clase, Who 21 to e chosen by ber, will Le defrayed by Mr. Strakosch. “The rights of force majours which may arsc, and othier things which mey interforo with the present con- tract, ara fo be decided in favor of Mr. Strakosch. Tn case thero shall be any_fmpediment which may prevent Madame Patti frow fulfiliing her contract, or may interrupt the exceution of this ehgagement which she contracts by the present agreement, Mr. Strakosch hias Tight 10 take Lis securities from’ Buron Roibs- td, O ease Mr, Strskoseh shall £l to_deposit 500,030 francs with Bsron Bothachild all the above couditions are null and void, and Madame Patti is fully released. The present eagagement is aigned by the Marquis du Caus, in Lis capacity of hustand of Madaine Patti, Who 1ias suthorized her to make this contract, Reporter—When was that contract made ont originally ? 3 e Jlr. Surskosch—In 1869, It is stillin force. Madamo Pattr poys a forfeiv of 3,000 francs a ear for every ear sho breaks it. That is, she puid oue forfeit Iast year, and will probebly do 50 this year, also. _ Reporter—Do other prima donnas exact such tel s 2 Alr. Strakosch—No, because they cannot. THE DEGINNEDS. Reporter—How do yon manage with your proteges ? L Mr. Strakosch—We give them small sums at firat and sdvance them as they rise. We persiat in our system, because wa Lelieve 1t to be sound. At present there is DO monmeyin opera; tho prima donna wants too much, Ours is, I believe, tho only way to fit artistes for the stage, lyric or dramatic. Reporter—Do the musical conservatories fur- nish you many prims doanas ? AMr. Strakosch—We ouly take those who have won prizes at these places, snd they soldom amonnt to anything. We skim tho musical elo- ment, taking only the cream; but in this we are not 80 generally successful a8 we shall be. THE PRIMA DONNA. Roporter—Your prims douna is an exacting creatnre, is she not—quite a despot in her way ? Afr. Strakosch—Well, no, I can’t say I have found it so. If sheis, it is because she ¥31m- perious by nature. I never have any trouble, 8t least compared with what I hear of other man- agers having. , Reporter—Does tho lady expect many priv- ileges ? Mr. Strakosch—TYes, of courso she does, and gets all sho asks for. She expects her hotel ex- ‘pouses, carriago hire, and all the other oxpenses she may incur paid by the management. But I can tell you that, exacting a4 the ladies may be, they are not mean nor stingy. It all rests with them, and if they choose they can be disagreon- ble or agreeabla about it. Reporter—Patti’s contract dercands tho trav- eling expenses of six persons. Is that the usual number ? Mr. Strakosch—No ; that would be too much. Thoy range from one to four generally, besides the prima donua. & Reporter—Aud when you have four ladies in the company, you may expect to pay expenses for twelve ? . Strakosch—Exactly. MANAGER AND AGEST. ~ * Reportor—And what is the nature of your re- lation to the members of your company? Do you deal with them through the medium of an agent? i Mr. Strakosch—Generally speaking, in an operatic company every person Los an agent, whose gole dufy is fo harass the manager—as Jarrett does o cloverly. There i3 but one agont in our company, and his name is Max Strakosch ; one ameteur, sud bis name is Rouzeaud. Reporter—Is this a stipulation between you and your company ? Mr. Strakosch—No, but I have their full confidence, and they have mine. We do not need any agent between us. THE HUEBAND-AGENT. . Reporter—How do husbands compare ‘with agents? AMr. Strakosch—Jarrett excepted, they are abont ffty times o8 troublesome. And for sev- eral reasons. First, the agent isa _professional, and a man of experience, 80 that he knows bet- ter than to be perpetually thrusting his nose in where it should not be. The agent makes trou- ble, but he is not an ass. I'd rather have to deal with & rogue than a fool. for I am experienced with one, but nobody can understand the other, Reporter—How do you mauage to make en- gagements with agents? Wkat is their pay ? IIr. Strakosch—A singer's agent reccives a percentage of about 6 per cont of Lor receipts. Hence it 1s to bis interest to put up her terms ag Digh 28 possible, Reporter—I suppose then they haggle most unpleasantly. Mr. Strakosch—Yes, of course; then you have to buy them. They are very venal Tel- lows, I can tell you. Reporter—Husbands cannot be bought 7 Mr, Strakosch—I euppose not; I never hsd oceasion to try. . Reporter—What is the cash value of an gent 2 Mr. Strakosch—All you will give for him. I am lucky in not having aay in my company. TIE AGENT AS A TORMENT, Reporter—Buc the duty of an agent —2 3r, Strikosch—Is to wrong tho manager, and ni:ko all he can out of his client and everybody else. Reporter—Tell me about Jarrett. Mr. Strakosch—He is deep, very deep: I will not sy anything about Jarrett. ‘I think he is protty well understood. Reporter—The agent may be regarded as one of H;'.' most distressing of the trials of a man- ager? Mr, Strakosch—He is one of them. There ara others, of course. There is the prima donna'a whim, whichisa terrible worry; there aro the guarrels of the company; thore are the gram- Dblings of everybody. There are tho disappoint- ments of the prima donus when she is sick, and the popular indignation, which is hurled st the unfortunato manager, asif he were aun accom- plice instead of a viceim. In such eases wo bave loads of trouble, A prima donns’s contract reads that she shall not sing on consecu- tive mights; an accident bappens; we call on her to sing ; sho rofuses. because it ig not on the bond, although she would not be obliged to | sing moro than three times in tho weok instead The same wich the tenors. THE MYSTERY OF TENORS. Reporter—How is it, Mr. Btrakosch, that the sopranoa apd tenors are 8o often sick, whilo tho contralto is seldom ailing ? Mr. Strakosch—There are many ways of nn- swering the question. As = matier of fact so- pranos and touors do not suffermore than others, but there are always two of each, and they give way when they need not. With oar contral- to there is no such word as fail. We are under more obligations to Aliss Cary than you would think. Well or sick, she i8 always ready togo on and do her best; thero is nobody to relieve ner; she sings every night, and never complaing at being suddenly called npon. OUR JEWEL. TReporter—You must have s jewel insucha of four. 2dy. Eylmkosch—she is indeed & jewel. We are proud of huving brought ber out, and she never forgets that. er couduct is in such contrust with that of mosc singers, contraltos even, that we are glad of any opportunity to express our admiration of her publicly. ‘[ME STARS. 2 Reporter—How mauy “stars” have youin your compauy ? Mr. Strakosch—There aro two soprancs, two teuors, two baritones, one basso, and ono con- tralto; we travel with twenty in the orchestra, and fill up in the large cities ie reach; thirty-five in the chorus; thenwo have in sddition, Stago managers, tailors, dressers, carpenters, snd others, There are eighty-five of us altogether traveling, with additions of 4 temporary charac- ter in tho cities. [TuE CHORUS. Reporter—Where do you get your chorus ? Ar. Strakosch—We bring bhalf of them from Europe, aud the remainder from New York. Shall T tell you why ? 1t is s piece of strategy. ‘I'beir contracts read differently, and thoy caunot all strike on us at once. ~ Reporter—What is their vocation, generally ? AlIr. Strakosch—They are professional chorus- singers. How they live between tcasons puz- zles me. I cannot guess any nenrer than vou can. Reporter—What nationality predomisates among them ? Mr, Strakoseh—They are principally Germans, but there aro French, Italian, and others among them. Reporter—The prees has, commented favora- Dbly upon the sppearance of your chorus as well a8 its vocalism. Ar. Strakosch—~Well, they are not absolutely lovely women and noble-looking mou, but they are a botter chorus than has ever traveled in this country beforo. The fuct is, you can got as good & chorus as you want by paying for it. We pay our chorus enough to live upon, and, in consequence, they lcok botter on tue stage, sing bettor, and are Lappy. Teporter—Chorus €ingers pmd, ganerally, aro they not ? Mr. Strakosch—Yes; vory. My experience is that to get the best I can, even if it costs money, is the wiser policy. Especially is this apparent in a chiorus. You have the secret of the strength of our chorus. Reporter—Could yon not rely upon your high- priced people to draw ? Mr. Strekosch—I do mot know, aod I do not care. My object is to run 88 good a company as Ican. 1f & good one will not P for itself T will retire from the business. I do not want auy niakeshift. Ihave ntancy that the public is beginning £ tire of the ordinary run of miser- able make-weights. are protiy badly ‘MAWETZER. Reporter—Is that what ruined Maretzek ? Mr. Strakosch—My experienco leads me to think that when & coipany is argamizod to ruin another, it generally comes togrief itself. That is what wrecked Maretzek. . Reporter—How ama you coming ont? 3r. Strakosch—I think I shall clear my ex- pouses and be a dollar or 8o ahead. Thut will b doing well for guch season as this. PROFESSIONAL RANK. Reporter—How do your singers rank? Mr. Strakosch—It i3 hard to say. Supposing them to be of erual merit, the sopranos como first, tenors nixt, contraltos, baritones, and bassos, in order. But you capnot rely on this, A good baritouo ranks higher, and is paid more, than a mediowre tenor ; & rare basso will be more expensive thun s good soprauo. A MATTER OF LOOKS. Ils);,ofler——’l‘ha oprano captivates the men, aud the tenor the women in the sudience. Is Dot that the case ? Mr. Stra'sosch—If the soprano and tenor are better loozing than the contralto, baritone, or bass; otherwise not. I think they divide the conqucsls Ipn:lty evenly througlout the pro- fession, kpow that the popular theory is thbat the <tewor is the lady-kiuer, but i¥ is not altogether correct. The basso's looks, may put him a long way ahead of the ten- or'avoce, He is generally less graceful, but move manly. There is no accountivg for tastes, afrer all. PETSONAL FREFERENCES. Reporter—Which do you prefer, a £oprano or 2 contralto 7 Mr. Strakosch—As a mansger I am boand to admit that a contralto whose name I bave men- tioned already is the most obliging, most agreea~ ble, most charming person I have ever met in the profession. e OPERATIC EXPENSES, Reporter—Well, I did not mean as & manager, —but you are not on trial, I supposd. But what are the expenses of runuing an opera com- pany ?_ Lot us make up & schedule, 3. Strakosch—It will astonish you. To begin with: Madame Nilsson has 31,000 for every performance. This is somebimes thres and sometimes four times a week. We will tuke the maximum, and the schedulo for one woek will be as follows : The honsa. Agents 350 Traveling o5 Advertising. 8 ‘Properties, ballet, stage hands, fatlors, etc., otc. 1,000 The first week you must take off $1.000, Mad- ame Nilsson not having played but threo times. Reporter—I understand that Madame Nilsson watclies pretty closely over the receipts, too. Is that the case ? Mr. Strakosch—Yes. She counts the tickets {from the box. She is s shrewd business woman, TIHE RECEIPTS. Agninst the expenses of the opers, the re- ceipts for the twelve performances may be placed as follows: Fmst weze, Wednesday. Thuredsy. Fri Tolal.. ooneracenns s .$18,101.50 It may be tbus concluded that as Madame Nilsaon only took 83,000 out of the week's re- ceipts for the first week, the management has made money in Chicago. That it has done 8o is to its credit. The management stites that Madame Nilsson's sickness on Monday night was oquivalent to £1,500 paid out from the box ; and that the effect on the business for the week was bad for another §1,500. This is another mana- gpr;fi trouble which Chicago people can appre- ciate. Y OTHER EXPENSES. Besides these expenses, there are the original amounts ;nid for the preparation of scenic of- fects and for ivcidental expenses. Indeed, it appeays to bo the correct thing to. demand jmoney of & manager. When any member of the chorus or balet finds himself or herself called upon to say anvthing; to sketch out an aria where no other member of the bal- Iet or chorus is expected to do 80, an_estra charge is made. How the bills read we do not pretend to know. The charge is 52 extra, from which it may be assumed that the phraseology is, “To putting out a hand, £2;" *to opening tho mouth without support, $2.” Why the chorus does not perpetrato such bills as, * To winking four time at the honse, st £2 per’ wink, £8;" or, *To giggling ten distinct and valuable giggles, at $2 8 gigglo, $20,” we do not know. Perhaps they do, but Mr. Strakosch failed to mention the circamstance. COST OF AN AFBICAN. However, there are some otber bills well au- thenticated. In the exquisite opers * Aida™ u,rpe:u‘a = hittle bevy of African children at $3 & black head. Thej only appear in one act, but & glimpse of the audience from the stage, assures | small, and the view disconraging, the amount paid would not scem extravagant, but anvbody of either sex would be glad enough to get & view of the whole audience, and be for once tho ob- aerved of all observers at 3 per look, These triflcs amonnt to heavy sums toward the close of the week, OPERATIC TROUALES. An idea of oparatic troubles may be gathered from the followingaccount of a row in New York. The Italien members of the company _becamo jealous of the French; Campanini, Nanpetti, Dol Puente, and Maresi could not be got to agreo with Capoul, Marel, Toriani, and Nily- BoD ; e two Iitter disagreed as to their relativo merits as singers, and Manre] aud Campanini were similarly amiable toward one another; Campanini took pleasure in oc- cupying & proscenium box on Capoul's nights, and laughing and hooting himself intos hoarse- ness that prevented Lis singing next day. So that in the most pathetic part of the opera, when Capoul's peculiarly sympathetic quality of voice had wrought upon the audience o an un- expected degree, & howl of scornful laughter would issue from the box, and bieak the magic spell. There wns no mistaking the author. Capoul was too much of a gentleman to retaliate in kind, but having borno it kindly for a long time, he was compelled to declare that he would not eing if his rival were ullowed in the bouse. Campanini would not sing if he were not ; the ladies were not on epeaking terms; Madame Nilsson was “sick”™ very often, and would not got well again. Ske was absent for a week when_ the company waa in Dhiladelphia, and ruined pusiness in that city. Indeed it scemed us if anarchy had broken iooso smong tho people of fine larynxes, Mr. Strakosch and his Seerctary, Fryer, succeeded in_establishiug peace. 'Theé' peity jealonsios of & dramatic company ste bad enough, but in opera,they are unendurable. How things were righted nobody socems to know. In fact everybody was engaged in a quarrel with everyhody eclse excopt Misa Cary, who endeavored to second the manager's cfforts to restoro peace. As there was no jealousy of her in the company, her mediatious probably led to a better stato of affairs, and saved her from being involved in trouble. It seems as though vocal cultnre was achieved at the expense of moral development in many cases, the one brigt exception in this, the best operatic company now existing, apparently proving the rule. SKETCIIES OF MEMBERS. The Brooklvn Sunday Sun gives a sketch of several members of the company. Campanini's unpolished appearance, at hia first rehearsal in Now York, caused him to be stopped from going on the atage by the chicf of supers, who thought ho rocogmzed in him a companion figurant at 50 conts a day, His ignorance of any lan guage but his own, and his consequent inability to oxplain mattess, resulted in his expulsion from the theatre. This ‘Thers are eyiumfln nearly broke his contract. plenty of anecdotes to b told abont every mem- Der of the company, but thore is not space to give them, even if it were desirable to do so. The intelligent reader will readily understand that such stories do not, as a rule, reflect eredit upon the persons of whom they are related, and, a3 the object of the present article is to give information rather than wound the feol- ings of strangers, we refrain from giving pub- lieity to them. REVIEW OF AMUSEMENTS. THE DRAMA. The weather of the past week is its most salient feature, and there is notning to commend aboutit. It was about as diecouraging winter weather as one could expect. Rain and slipperi- ness were more than the public could stand, and the offect upon the thaatres was damaging. Towards the end of the week the weather im~ proved,*and a corresponding change was imme- diately cbserved in the audiences at ali the places of amusement, and especially 0 on the West Side, . TEE ACADEMY OF MUSIC. Mr. Gardiner has succeeded in keeping his charming little theatre beforo the public by a succession of first-class stars, and has demon- strated that distance will not deter lovers of good acting from attendance where such isto be scen. The star of the past week has been one of the most popular .comedians of the day,—Alr: John E. Owens, whose appearance this season has been pleasurably expectod. It is not saying too much to romark that tho public expectation has been fully realized, despite the fact that Mr Owens waa almost forgotten by the general pub— lic here. His first appearance was in the part of Joshua Butierby, in Tom Taslor’s Lright come- ds, “ The Victims.” Despito its aatiquity and frequency of representation dwing the present season, it proved vory attractive. It was scted chmug!mu: with spirit, and was a very even and enjoyable performance. The company has been | well drilled, and its imperfoctions are not very noticeable, There is & certain angulanty about all of the members which is brought into strong rolief against tho finished round- ness of the star. This ts especially notice- able in Miss Noble, the leading lady, and 3Mr. Norris, Mr. Pitou’s peculiar fault is'a tendency to staginess, not very marked, but occasionally obscrvable. _However, in so large s company a8 this, it wonld be strange if every member wero perfect. ’l'nn_theficneml average is 80 good is a fact upon which Mr. Owens and his manager, Mr. Hamilton, are to be congratulated. This last-named gentlem:n, by the way, is an unusually pleasant and polished actor, and, while s modesty in assigning himself to parts of sec- oudary importance is o commendablo char- acteristio, the public would be very happy to soo him before the footlights in Eome mors promivent part than he has hitherto appeared in. ‘‘Solon Shingle"” Das followed tho piccs of the evening, and, if the werriment of the audience is auy index of pub- lic_appreciation, it is a8 taking asit ever was, Friday night Mr. Owens played Major Welling- ton De Boots, in **Everybody's Friend.” To- morrow evening he will appear in his celebrated character of John Unit, a rs, Bateman's popu- Inr socicty comedy ** Self,” and will suatain the favorable impression that his performances of Iast woek havo made, We say this advisedly, because after the lapse of years since his last visit to Chicago, Mr. Owens comes hero almost a stranger to our theatre-goers. “‘Self " will be given Mondsy snd Tuesday nights and at the Wednesday matinec. Wednesday and Thursdsy npights he will appesr in a still _more _pobular rols, that _of Caleb Plummer in ** Tho Old Toy-Maker.” Fri- day night be will piayin “The Heir-at-Law " and * Young Ameica;” Saturduy night, * Mac- ried Lifs " and ** Solon Shinyle.” HOOLEY'S THEATRE. There can bo no reasouable doubt that the re- appoarance for & limited eeason of the popular favorite, John Dillon, at Hooley’s, with his old support, will fill the honss_to overflowmg to- morrow night. The week commences with “ Married Life,” with the following strong cast: M, Jlenry Dove. Afr. John Dillon Mrs, Henry Dove. 3r. Sumuel Coddle. ‘Wednesday there will bo a matines perform-" apce of Italianopera by the Nisson Company. Thursday Tom Taylor's comedy, * The Overland Route,” with Dillon as Mr. Lovibond. Next week the greatest of realistic actors, Salvini, will P]ny 1 *‘Ingomar,” *‘Queen Elizaboth,” and “Otbello.” Here is a chance, a last one. If the public lose it, they are to blame for miss- ing the finest dramatic representation of the age. 8 MYERS' OPERA-HOUSE. +A Blippery Day” bas beeu played to full houses every night. The more slippery the day, the more appreciative has the andienca been. In consideration of the weather, A Slippery Day " will be kept on during the whole of the woek at this house. In addition to this, there will be two other lively farces, *‘The Clock- Maker's Troubles” and '‘A Slight Mistake,” besides a fresh batch of musical and vartoty features. Allof which the pubhc are cordially invited to see. THE ADELPHL Leonard Grover bas promised us all a first- class, genteel variety entertainment atthe Adel- phi, and is working might and main to rodeem hie pledga. 8o far, ho has done it. The compa~ ny he has already engaged is a guarantee of the fulfillment of hi8 promise, being the most ex- pensive variety company ever engaged st auy one time in the country. Among_those alrcady an- nounced are the following: Charles and Carrie Austin, the military artists who made such a hit during the run of *Humpty Dumpty” in New York ; Alexander Davis, the celebrated ventrilo- quist, with his comic midgets, Sam and.Bob ; the brothers George and Charles Reynolds, the most popular song and dance artistsof the time; Leo- pold and Geraldine, the daring and graceful gym- nasts ; the great Billy Rice, who has identified himself with boisterous merriment at Mgors' Langdoo, J. H. Reany, Harry Blood, Miss Hen- rictta Wilkers, Miss Ella Lumley, Miss Leonora Bradlev, and many others. Ths ballet will be nnnsually large, lod by Mle. Geraldine, Frankic Chiristie, Mile. Paulina, Mllo. Wianer, and a host of coryphees, The ofticers of the Adelphiare Loon- ard Grover, Manager: Billy Rice, Stage Maaager; TFraak Clyncs. Superintondont ; and Jay G. Rial, Treasurer. The Adelphi will be opened & week from to-morrow. 'The managementis in earncst to giva the public what he promises, and the namos of the officers aro o strong indorsement of the enterprise. Alr. Grover's long expericnce and confirmed popularity insuro him tho best wighes of the public. Thero i8 every reason to 1ook for an immenso stceess in tho Adelphi. DRAMATIC NOTES, . Onsof the Dasenport (fows) churches is to be converted into an opera-house. Joseph Dradford, of the ton Courier, has sold his now comedy, * The Gorman,” to J. K. Emmot. " *The Poor and Proud of Philadelphia " is the attractivo title of a new melvdrams produced recontly 1n Lhat city. Mrs. J. B. Booth mado her first_appearance in Now Yorkss Diane Derard in *‘Ls Fewmo de Feu" at Bootlys recently. The Tudor Varicties, Liverpool, advertisos: “Comic talent wanted. Always a vacancy for good kuock-abous niggers.” Dartley Campbell has leased the Chestnut Street Theatre, Philadelphia, from which in futuro Mr. Campbell’s plays will bo issued to an admiring world. Jobn Gilbert, the comedian, who was very ill for threo weoks, is rocovering, and will soon onco moro gladden the stage with a presence that alwaya mekes sunshine upon it. A military spectaculac_pieco at tho Porte St. )[utuk Taris, entitled * Libre,” is poorly writ- ten. A critic says: “The great advautage of so much explosion of cannons and muskets is that lets of the dialogue is audible.” Bulwer's comedy * Monoy " s’ been rovived at Wallack's, with John Brougham as Benjamin Stout, Hurry Beckett as Henry Graves, Mr. Polk s Capt. Dudley Smooth, Lestor Wallack as Ayred Evelyn, aud s, Flogd ss Sir Frederick wound. Mr. William Telbin, the well-known London scenc-painter, died, on Christmas Day in lis 6lst year. The London Orclesira ®ays: ** From the opening of the Princess’ Theatre in 1812, when Telbia painted the drop-curtain to represent white satin, down to his latest fri- umphs of architecture aud landscape imitation, the works of Telbin have been before tho public eye nud reaped public admiration.” . Victor Vaugis, the father of two littls girls who do daring trapeze a:ts at the Boston Thea- tre, in respouse to a correspondent, who depro- cated the depraved tasto that could admire acts involving so much torture to the children, writes to the Adcertiser that theso two anildreu are all be has left of fivo. and that they would not be alive but for the physical training by which thoy were prepared for the stage, ns they were deli- cate and puny, but are now vigorous, healthy, and delight in the trapeze. Just thiuk of & cir- cus Pecksniff ! A strange and deplorable_accident took place Intely at a theatre in Ulm, Germany. The place was lighted by twenty-four petroleum lights, at- tached to & chandelicr suspended from the ceil- ing. In tho midst of & performance a lamp cx- ploded, znd the burning petroleum dropped like a shower of fire apon the auditors. The dresses of about twenty lndies cxught firo, and several of them were seriousiy burned. One of the nu- Lortunato women dicd's forr hours aer tho scel- ent. Mr, T. C. King, the English tragedion, madea hit at St. Louis last week 1o ** Richeliew.” Tho Republican says: * It is o finc tost role, and Alr. King nobly stond the ordeal. He gave us the best Richelicu we have seen hero sinco the palmy days of Forrest. It was infinitely superior to Barrett's, and as o whoie better than Dootl's. Neither of these actors have the physical strength ta givo Richeliew his grandest effects, and Mr. King has. Ho was called before the curtain at the end of tho first, third, and fourth scts, and ot the end of the play.” A benefit for the Actors’ Order of Friendship is proposed, at which it is said E. A, Sothern, Charlotte Cushman, Edwin Bootb, BE. L. Daven- port, Janauschek, Lawrence Barrett, Joseph Jefferson, Barney Williams, Miss Neison and Lester Wallack will appear together 1z one com- edy. The ides ongmnated with Sothern. Neither the time nor the place has been definite- ly determned, but it will occar betweon the 7ih and 15th of March, either in New York or Phila- delphia, Miss Lizzie Price, formerly a member of the Arch Street Theatre Cowmpany, of Phila"-Iphia, and now one of the principal ladies of 3Mr, Charles Fechter's company, has commenced pro- ceedings in libel against John H. Tuggart & Sons, pubhshers of the Sunday Times, of Phila- delpnia. The ground of the libel is the publica- tion of an article in eaid paper, in which it was insiouated that Mr. Fechter had sent Alr. ‘William Wintle, the husband of Lizzie Prince, to Europe, that be bimself might take adsantage of Lier husband'’s absence. While playing the *Dutchman in England,” at tho Masonic Temple in Brooklyn, the other night, a bottle of * Bongal firo,” which was being used for scenic effect, ignited by beinz beld too near_the flame, and exploded, the neck striking Ar. Wyrrich, who was personating tha ‘ Dead Dutchman.” The latter, who was com- fortably laid ouf, imagining he had been shot, sprang to his feet in a very lively way, and com- menced bawling out in a most ridiculous manner for a dead man. The sudience wers very much excitod, but gradually the facts became known,. and Wyrrich again laid himself down like a re- spectable corpse, whilo the spectators tittored. It1s with nnaffected joy that we lav bafors our readers authentic” evidence of Japanese proficiency in dramatic studies, as noted in the Japan Mail. We find, for nstance, the heart- rending cry of Richard IIL., thus parapraced: Ginrick-pshaw motty_koy—ginrick-shaw _arimasen, mar motte koe! Mar sick ick, betto drunky druniy. Ok my higgy f1a jia, watarshee pumauts sinjoe armas. Which we will delicately ventnre to re-translate, ns follows : * A chariot | My kingdom for a cliariot ! or, if the chardat be absent, a horse, according to standard editions.” To which the trusty Knight replied, “ 3y King! bishorso Las fallen, Liecding from o bundred ‘wounds, Astohis faithful m}nfitc. after life’s fitful fever hesleeps well.” To which the King—*haste, haste, ye all, or 1mine shall be the hand to deal forthl vengeanco " < Miss Laura Aloxander, of Wallack's Company, died Iast week. Tho new York Tribune eays: ** It is the melancholy fact that a sense of pro- fessional failure preyed upon this young lady's ‘mind, embittered her last moments, and hasten- ed her death. Bhe presents, in brief, another instance of tho brokon bheart that sometimes follows inthe track of disappointed smbition. She was of & generous nataro and an enthusias- tic mind, and she made the mournful but com- mon mistake of thinking that theso are dramatic genius and trained mimatic skill upon the stage; ard she had ot patience to bear the burden of chagrin aod sorrow that came of her thwarted aspiration.” Alptionse Belot's new piece “‘La Femmo de Teu " has been played at Booth's. The Tribune savs: ‘ Few dramatic personalities have ever oncountered our mnotice which—to our indi ual taste—are 8o hideous, revolting, unjustisble, and superfluous. Unlessadramaticauthor wereto burrow in the dangerous cells of a madhouse, or the secret places of & dissecting-room, he would find it impossible to unveil a more loathsome form of diseased human nature than is this woman who lives like o tigress and sins with the wild strength and reckless joy of a demon. That recourse should be had tfo such monstrous vi- talitics in order to vivify the drama is sure proof tost in France ot least—where these frightful experiments esnde—the public appetitehas been burued to satiety by all the hot flavors of dia- bolical sensalism. In America the scorching process is repested at second-band and only half in_earnest, most of tbe persons who trifle with this fire of hell being really ignorant of what they are_doing, or which way tho current of their action tends. music. . TIn response to several requests wo have re- ceived during the week, we print below a de- tailed statement of the various Italian opera seasons which have been given in Chicago, and on next Sunday will sdd the Germsn seascns, which will mako tho list complete, the English performances having been published at the close of the recent Kellogg season, The list is as follows - First season—Rice's Theatre, Joly 20, 1850, one night, #Bonnambula.” Mr. Manvers, Mr, Gimberlel, 3fr. Lippent, snd Miss Brienti, Second_Season—Rice’s Theatre, Oct. 2751, 1853, Bosa di Vries, mo. Sldenbourg, Pozzolini, Taffa- melli, Collettl.” Sig. Arditi, conductor, Third Season—NicVicker’s Theatre, Feb. 21-March 11,1839, Parodi, Colson, Cora Wilhorst, Amalia Patti, Brigooll, Squircs, Junca, Amodio. Herr Kremtzer, conductor, Fourth Season—Metropolitan_Hall, Dec, 5-10, 1859, Parodi, Alaimo, Hattle Brown, Miller, Sbriglis, Gnone, Barill.’ A. Torriani, conductor. _Fifth senson—McVicker's Theatre, Nov, 15, 1860, ono - s nighit. Colson, Brignoli, Ferrd, Susini, and’ Mardini gpe“ g"“&;‘ o l"és sto fi,‘? m"m““’ e ot ‘Theatre, dune 15-2uly 4, O TS g0 artistor omo, PSP~ | 1865, Lorinl, Cordicr, Morenst, Brignoll, Macaferrd ular ‘“‘mystic change ;" George Da- | gugini, Amadio (Junior), Bardli,’ Stockton, and Lottl, veoport, a telented comedian whose | gig. Muzo, conductor. name i8 well known in Chicagoand better known | = seventh Season—McVicker's Thestra, Feb, 1-1% 1854, Tamaro, Formes, Morelll, Six. Muzio, condnctor. Eurhth Season—3cVicker’s Theatre, Say 9-21, 1654, Same troupe s abore, Ninth Season—deVicker's Theatre, July 7-8, 1864. Adelaide Phillipps, Brignoli, Morensi, Susini, Zapucss, Locatells, §1g. Bendalini, conductor. Tenth Season~Inanguration of the Crosby Opesa- House, April 20-May 20, 1855. Zucchi, Kellogg, Mo- rensi, Massimilani, Bellini, Susinf, \izzoleni, Orto- Iapi," Carl Bergmann, condnetor. ‘Eleventh Seasor ‘House, [June 5-17, 1865, Sama troupe, T'celfth Season—Opers-House, Nov. 8-Dec. 2, 1875, Gazzanign, Noel Guidi, Boachett], Olgine, Caah Pollini, Musian, Anastasi, Brandin, Oriandini,” Milleri, Sig, Muzio, conductor. Thirteenth Season—Opera-Honse, Jan, 16-18, 1866, Performances of *“ The African” by same troupe. Fourteentn Season—Opera-House, May 3-17, 1866, Giloni, Amalia Patti, Canissa, Massimiliani, Errani, Bellini, Marrs, Susini, F. Roda, conductor. Fifteenth Season—Opera-House, Dec, 24, 1866-Jan. 12, 1357, Samo troupe a3 above, with addition of Irfre and Tamaro. Sig, Nicols, conductor. Sixteenth Scasor—Opera-House, Moy 14-25, 1867, Parepa-Ros3, Canissa, Amalia Tatti, Brignoli, s simitiani, Ferrants, Sasind. Mr, Behrons, conductor, centecnth Senson—Opers-House, O:t, 38-Nov, 9, 1837, Lo Grange, Adelside Phillipps, Brignoli, Han: doli, Susini, Mixs McCulloch, Msssimiliani, Marra. F. Rosa, conductor. Eighteentl Season—Opera-House, TFeb. 3-8, 1863, Ecpp Young, Gazzanigs, Minni¢ Hauck, Rouconi, Teaa, Barlgll, Belini, Anfonucel. Mz Maretzek, con: T, Ninetenth Season—Opera-Fouse, Sept. 23-Oct. 17, 1838, Aguthn States, Rotter, Duraud, Brignoli, Huble® mann, Macaferri, llernanns, . Formes, Orlandini. Max Maretzek, conductor. Tueenticth Seasyn—McVicker's Theatro, Feb, 3-15, 1873, Pauline Lucca, Abrugnedo, Vizzani, Sparapani, Kellogg, Sanz, Jamet. Max Maretzek, conductor. Taenty-firat Season—McVicker's Theatre, May 5-10, 1873, Same troupe. Ticenty-szcond Season—McVicker's Theatre, Jan. 13- 24, 1874, Nilsaon, Torriani, Maresi, Cary, Campanini, Cipoul, Dol Puente, Naunelti, Scolars, Collstti. Sig. Muzlo, condustor, THE GERYAN RELIRF CONCEBT. Tho grand concert which has been in propara- tion go long for the h-nelit of tho German Re- lief Society, takes place tais evening at Hooley's Theatre, with the following excellent pro- gramme : FanT I 1. Overture—* Dis Irrfahrt um’s Gluck™, Orchesira 2. Arfa and Recltative from * Czar und Zim. mermann” ... 7. A Schioartz., 3. Duo from “ Cosi Fin Tutle ", ] ra, Clara Huck and 3ins Mary Kenkel. 4, Allegretto from the Eight Syuiphony. Orchestra, 5. Aria from * Stradella ... +esnesseeesescFloOtOW s Mary Eenkel. PALT 1L 6. Overture to * Rosamunde ™. 7 Orchestra. 7. Aris from “ Mignon .. s Mrs, Clara Huck. 8. Duo from * Don Giovanni ”..... Miss Mary Kenkel and Mr. Fritz Folit: 9. Song—* Du Blitzendes Sernlein ”.......Euecken Mr. Bischag. 10. Bextette from * Lucta di Lamermoor ™... Oonizetti Mra. Huck, Miss Keniel. and Messrs. Bischof, . Foltz, Sehultz, ana Schiartz, MASANIELLO. ) The first representation of “ Masaniello " by a home troupe will be givon at McVicker's Thea- tre on the 80tk of hlarch, and wiil be contiuued for five evenings and one matince. The cast is partly as follows : Bischoft chulz .Eoch The cast of ladies has not yot been decided upon. The c'orus is being reliearsed avery day, and new costumes have becn ordered from New York. THE LURLINE CLUD will give a concert at Klare's Hall on Thursday evening, Jan. 2), with the following pro- gramme : 1. Chorus—The German's Song. Lurline Club, 9. Zither solo—* Maybelis ", Prof. Ko 3. Duet—*Norma”.. ol Miss Dora Knoke and Jr. P. Groll. 4. Pianosoio—* When the Swailows Homeward ir. Chas, Wac) ..Fesca -Kruetzer 1. Chorus—*Rhinewine song Lurtime Club. 8. Bolo (Soprano)—* Spring . : )_Lurl Clu 9. Zither lcln—\\'alll,z r 10, Duet—*Larboard Watcn ™, 35 3r, Otto Kastrup and Geo. Anfel. 11, Chorus—* Farewell to the Forest ”...Mendelssohn. Luriine Club. CONSERVATORY CONCERT. A concert will bo given by the pupils of the Chicago Conservatory, at Kimball's piano room, on Mouday evening, the 26th, with the following programme : PART I, 1, Trio for Piano, Violin, and ’Cello. Miss Zo .‘1§‘u3h¢!m, and M Al Afiss Manlde Hart. 6. Warumand Novelette........... Miss Hattie Cady. 6. “ Come with Me "—Daet..... 3iisses Ida Thowmss and Jary Smi 7. Bolero.... ..Campans th. ++.-Chopin 8. Tri .Beethoven Alies. Z All Erchherm. 9, “ Good Night, Dearcst Uhild.”. LAbt r. Ch. smit 10. Fantaslc, op. 49, 37, Emil Lichli 1L s, * The Woods,” Frunz. b, *The Postillion,"Abt fiss Era Davia, 12, % Flashes from the West,” 31153 Zo Swiss 13, % Ever United,” Asses Er 14, Overture t ont,” ecthoven tcasra, Luebling, Ledochocsi, Alien, and Gosdbeck TURNER HALL. The programme for the Turner Hall concert this afternoon is as follows 1. “Racokzy March"”, 2. Oserture—** Travel 4, Overture—** William Tell”.. 5. Prelude of Act, 5, “ King Manfred”... 6. Aria from “Lucrezia Borgia™. Mr. H. Braun. 7. Grand Potpourri—*¢ The Opera-Glass”, . 8. Grand Potpourri from * Sicilian Vespers”..Bzlatka 9, Waltz—" Autograph”. 10. Bravura Galop...... MUSICAL NOTES. ‘The Kellogg Troupe is singing in New York, The health of M. Vieuxtemps is rapidly im- proving. ‘The Archbishop of Santingo declares that fe- ‘male voices in the choir are daugerous to true piety and devotion. Mrs. Lieut. Philip Read, formerly Miss Min- nio Bealy, of Topeka, Kan., has mado a succesa- ful debut a8 a singer in Florenco, Italy. M. Paris is suffering for the want of a tenor. Devilliers, the taneful cooper of whom we have recently heard so much, has failed. Wagner's friends are mustering strongly at Venice. and at the Teatro Fenice npwards of 4,000 liro have been subscribed to enable the les~ see to mount ** Rienzi.” M. Faure, the great French baritone, with the excoption of & two months' engagement at Co- vent Garden, London, will devote the greater part of next summer to repose for health’s Bako, The managers of both opera-houses in Lou- don intend next season to introduce a number of novices, hoping thereby to break up the ru- inous star system. Concerts in Boston have been well patronized of late, according to the Transcript, nt which the tickets were sold for $1 with reserved seats, At higher prices the Ausic Hall is only half fllod. Thereproduction of Wagner's ** Tannhauser” at Brussels has boen a great disappointment. After the first night tae sudiences rapidly dwin- dled away. Liszt's *St. Elizabeth ™ has failed at Dresden. The head of the composer Hsydn is in pos- session of Dr. Rokitansky, of ,Vienps. It is preserved under a glass cover, and the Doctor points out to his visitors & slight deficiency in the bony substance of the nasal organ, the seat of dmeasc which had given 80 much pain and caused 80 much irritation to the venerable Haydn dur- ing the latter part of his life. A new mueical genius has just appeared in Italy. M. Gobatti, scarcely23 yearsold, has created a great sensation by the production of an opera called * Les Goths,” which has pro- duced him the sum of £1,400, au unparallaled event in Italy. The debut of Rossumni did not bring him one-tenth of that amount. Galignani’s Messenger says: ** Tho great musi- cal event of the week 8t Paris has been the per- formance of Handel's *XMeasiah’® by 250 exe- cutants, orchestrs, and chorus, under the di- rection of M. Cbarles Lamouroux. It isthe first time that this chef d’euvre has been given at Paris in 1ts totality. The oratorio dates from 1741, 8o that_this admirable work bas taken 132 years to reach the French Capital. An extraordinary public entertsinment has ‘been Srudm:ed in Lima, Peru,by an italian named Contarini, who proposes to Carry his ex- hibition to Enrops. He has taught and trained, by dint of great patience and perseverance, a full opera company, made np of thirty parrof and parroquets, who perform two of I%um- miniathre stago with fall chorus and. recitugyd The dirccior_and manager sccompany artists on s _piano harmoainm, aad %‘.‘.‘;‘“ jos tion witti which each bird singd his part, mepics: excellonce of tho chorus ars prodigions il debut of this lymico-ornithological gy ik *Norma” was aitended by tao wealth ion of Lima. When the patroquet thar contralto finished the allegrs in the Salutat: the Moon, such was the enthusiasm, the el?: tg ing. and the applause, ot bearing a bird ging &"' Casta Dira, thas the bird comrany, affrighey took flight and sought refoge among tho gig scones. This interrupted the DParformance r‘\ fully & quarter of an iour, and Siguor Coprancy ad to tranquilize the *atists ® by giviee broad soaked 1m win, 157 by giviog tem An Havans correspondent says : Tha opers continues to go on uader 4l Spanish baritone named Faia made hig pen it A ance yesterday ovening sa fiigoltio, His vope L but be has 1o idea how to use it, a0d e mado s gt plete flasco. A year's rest and sevoral years ol might render 'bim s good singer. md, Lo usual, has, by overexerting lierself, fallen sick ypoess over tho ‘aprears, and straina Ber voice, aso e requires several {ays’ repose. Miss Marcherth ot colebrated South American prima donms (sha’ 1 Batio of Htaly), has been engaged to take Mime. frory? place, and appears_on Suturday In Traviaten s has et with better success than formerly, Tt is sy that & mew fencr has been sent for from Mhrs noither Vizzanf or Verati pleasiug the poptin a0t zucco, tho contralto, afforda pleaty of room foe a ment, hor figure and even hur ainging being ot paer cation for continuous laughter, Jamer has suiter iy public ; his companion, Bossl' Gali, 1s nearly siarg Boarse.” Mile, Mursks 15 the great’favorite, and pr ringing ia * Lucia ™ called foflh most enthusmais applause from the audieace. It i3 undecided sy ‘whiether the company will proceed to Mezico, as mesi; all tho artits object to sing with Mme. Lucks, priest) quarrels and_difliculties, for which me, Lucesi blamed, being the alleged’cause of their attitude. e @pan; in and fap #30g the The Lyric Drama in Chicago. During tho last two weeks the lover and stue dm.:t‘ of music in Chicago has had ressonto felicitate himself upon his adyantages over his comrades in tho sister arts. The emdryo paintor and s_cnlptor, born 1n our atmosphera of busthng, practical life, is bamperod and retardod by the lack of standards of excellence ; of models which at once instruct and inspire. He dreams of the masterpieces of the grest pionesrs acd guides of his profession ; but the Sibyls of Michael Angelo cannot be brought across the Atlantic; the Faun of Praxitelos cannot be lent for a season. The musician is more fortunate. The marvel- ous touch perfocted in the Conservatories of Leipsic and Paris is occasionally to be heard in the concort-rooms of the world’s youngest Matropolis. The Grand Opera has at rareine vals spared her finest fruit and ornament to tha denizens of o region not fifty years reclaimod {from the wilderness and the savage. Tho troupe which came to our city two weeke 850 18 in some respects the most notable whick has ever visited us. It contains ONE OF TIE GREATEST PRIMA DONNAS ofour owa or any time. Whatever may by thought of rolative superiority among the special admirers of the threo grest soprano singers of the present day, there can be no doubt that Christine Nilsson has made s deep and dis tinctive impress on the lyric drama of her age; that ehe will pass into history as one of the Queens of Song. When the black locks of to- day ars white and the golden sre gray, we shall expatiate to the incredalons of the new genern~ tion on the matchless melody of her “Voi che sapete,” the pathos of her * Trawiata” avd i the weird and tragic intensity of hex ;" a8 the generations before us raved of the silvery notes of Malibran; the ‘ Una voce™ of Sontag; the erystal purity and wonderfal volnme of the voice of Jenny Lind. The present troupe furnisnes not only & greal prima donna, but one ABLY SUFPORTED. 1t is our peculiar misfortune, in_lacking a res- ident Iyric drama, that we are ustally condemned, if we obtaina great Margaret, to witness het playing to s mediocro Faust; to have s rarft tonor as Afanrico, et prcteres nibil, emphatic: 1 1y, a8 repards the rest of the opera. But when have we ever had such a Raoul tosuch a Valen~ tine, such a Alargaret tosuch & Faust; and— let us not forget to add—euch an Trban, such g Siebel, to both? - This troupe has also been of special interest a3 presenting on the same stago emincut exam- ples of the two great schools whose conflicting theories once shook the musical centresof the world: the French and the Italisn. Whateve the characteristics of each may then haye beca, it is not difficult to mark the distinctive features of the two to-day. In TUE FRENCH 8CHOOL, the voice, however finely trained, becomer secondary to the expression of the thonght which the music embodies. Whatever volumo, whatever versatility, the voico may poseess, lel it appcar as it may, 88 it must; but woe to thal singer who makes its display the prominen feature of his representation; who rivets the atteation of the audience, not on the sorrows of the hero, but upon his ut de poilrine; wha turas aside, io the flood-tide of uncontrollabla grief, to utter a gerics of brilliant musical pyzofectnics for the sake of exhibiting her ane sirong point. Such a singer, homever remarke able her nataral advantages, would © aver come mand the warm approval of French connois- acurs. To such an extent is this ides carred, that, 1 Parisian salons, ono may constantiy meet with amatenrs, and’ occassionally profes— sionals, whose conception of the composer's meaning is so complete, whose phrasing is s0 beautiful, whose action 8o exquisite, that they will transport their andience, and really convey some of the highest delights which music can give, while possecssing, in common parlsnce, no voice at all. * Lucia TIE ITALIAN SCHOOL, on the other haud, concentrates its attention on the voice itself. It is the chief cffort of the singer to bring ont into their just prominence to give with due force and beaaty. the notes uf his parts the mustc of the composer baving been faithfuily rendered, the sentiment of tho com= position may be trnsted to take care of iteeif. No other gchool could be ko patural to s nation whose voices, by inherited physique and climate, are £0 generally beautifal; whose emotions aro 80 simple, aud 8o artlessly roveslea, not that they exclude or ignore the necessity and effect of dramatic action, but this with them is rather aresult and inevitable accompamment of the vocal expression, and subordinate to it. The celebrities of this school, whero_they have dis- tinguished themselves as dramatic artista as well 88 vocalists, have generally won reputation by the portrayal of the more striking and_powerfal rather than the softer and finer emotions. In depicting terror, horror, anger, venyeance, of Jofty indignation, no echool Las surpassed the Ttalian. In representing the finest shades of feeling, complex and - transitional emotions, weirduegs, pathos, exaltation, no echool, in the opinion of sonie of the best modera crilics, has yet approached in tho French, The contlict bo- tween the twois the old antagonisn between ths barmony of sense and of sound ; and the fosion of the two would doubuess produce the ideal singer. . Cnpoul and Campanini are eminent exam Y.f' of their rospective schools. (And Nileson, while inclining to tho French, which ks stamped ita distinctive imprees on ber art, in many points of her mothod is & happy union of both.) To taks each in a particular rols, THE OPEZEA 0Z “PATST,” a8 lately performed here, was an illustration of the French school, and an exbibition of some of its excellences. The music of **Fauss” has bo- come s hittle hackueyed to habitual opera-goers bt it is, and will always remain, oue of tho most beautifal of operas. That is bocanse, in & cer- tain senee, it bas Goothe for its author. Itiss partiai justification of the French idea, that, 28 the lyric drama advances, of more and mors im- portance grows the libretto. At first merely: skeleton on which to haog the notes of the gflflt composers, it has como to represent the genius ol the opera. Instead of cmploying poetasters g string together unmeaning phrases for £dap! tion to the music, the composer has wrtten music to express ita sitnations aud emotions, Thus Ambroise Thomas, in his “Hm‘zlet, :Eb his * Mignon,” kas summoned to bis aid greatest suthors of the ccuntries wheoce Lo bor rowed his themes. Gounod has dove the £31g in éxi{lv"nomc: av:fi J‘gm" .x;uhpmup'eir's.";h and Wagner, for the themes of his been eaiisfied with notbiug leas thsn the grest epic of bis native land. CATOTL s the epirit of the Paris Iyric stage,—the 7D of the pet of the Grand Opera acd the Do vards. His voice, sweet and true, sod of ¥e agreeablo quality, is of the light and gracelly variety of tenor. Not extraordinary in comp or volume, it is yet a beautifal—what b French call s sympatbetic—voice. It i8 “m:- tive to every grade of feoling, vibrates with yood derness, aad is tremulous with passion. In 123 charsoter of Faust he msda the display of special points the object of his efforts ; b0 5 ordinated himself and his voice to the sentinel embodied in bis role. Ho becamo emphst the poetic tenor,~the ideal-lover. His i dimora” was one of the finest combirations of - quisite vocalism with the purest form of drsz expression which wo shall sco for msays O3 Tt was the more remarkable in this sc ol he had not Nilseon's voice and acting $& out on ench a scena a3 this, tho ordl I A aii T S . R —— O B e s LTS