Chicago Daily Tribune Newspaper, February 14, 1875, Page 10

10 THE CHICAGO DAILY TRIBUNE: SUNDAY, FEBRUARY 14, 1875.--SIXTEEN PAGES. AMUSEMENTS, Gpera-Its Past and Fu- ture--- Lohengrin. Zurner-Hall Music---Balatka in Reply to Mathews. Sidsieal Matters in Chicago and Elsewhere. ’ How Strakosch and Italian Opera Came to Collapse, * Revival of Scene-Painting in the City of Chicago. Mss Charlotte Cushman’s Explaga- tion of the New York Affair. The Theatres in General. MUSIC. THE OPERA. 3 JTS PAST AND ITS FUTURE—“ LOHENGHIN. * The opera of “Lohengrin,” lately performed in +his city, is, whatever ita peculiar merits or de- iciencies, the most fertile in suggestions of any sork of art presented to the publit for years. fo many ardent lovers of music aud drama, it yeoms the first ripple of a bigh tide. Asa form of art, opera has ALWAYS OCCUPIED DEBATABLE GROUND. Born in a palace, out of the leisure of amatenrs, and modeled upon the traditions of the Greek chorus, it has always retained certain traces of its origin, In ite earhest years it was frigidly classical,—as the classic was then understood,— ‘unreal and stilted in the highest degree. To this bear witness the librettos and titles of the first operas, “Dapbae,” “Jason,” «Eurydice,” Pomona.” In italy, its birthplace, and in France, where’ ite artifioual character acd brill- - iant spectacular displays suited well the pre- - veiling tone of high society, it was always the szaugement of the privileged few, the en- tortainment of = Court; .it neither sought nor obtained the favor of the masses. It was always ropresenting some serapbic Alcesie addresaing some sublimated Orestes or Pylades. Not s composer whose blood would not have run cold at the idea of aberoinecalied Afarie, a hero socosted as Jacques, or & flesh-and-blood Niaa beloved by & Giulio or Carlo—though nine- tenths of his audience might answer to those nsines. Itmust be remembered thst the first of these early operas were wholly without arias, and consisted of little more than continuous re- citative, to which the music waa & sort of aocom- paniment, and was wholly subordinate. The ppers, like the stage of the same period, was hampered by a code of arbitrary and absurd con- rentionalities, in which NATURE WAS COMPLETELY LOST SIGHT OF. Opera-bouffe was a vatural reaction from this etzteof thinga; and, however enjoyable as taughter-provoking absurdities the ‘Belle Helere ”.cr * Barbe Bleue ” may be, the finer part of their wit ig wholly unappreciable without some accquaintance with the solemn insipiditics end bombastic tragedies which they no admirably Lorlesque. Opera, introduced into England, became, ae it | nad been in France, the amusement of, high society. It was the fashion to attend the opera, 1p it was io drink tea aud chocolate out of fise cbina in the Ranelagh Gardens. But, in the form in which it first appeared, —a French exotic, =-it was alion to English taste and eymrathies. Exquisites lisped ita praises, and young noble- meu vied in attentions to the reigning prima- dopna ; but the great bulk of even anstocratic society found it an intolerable bore, and groaned uuder the yoke of feshion at.d masical hypocrisy. As to the populace, iheir aisgust was outspoken and profound, Itis amusing to note that the largest opera-house was buraed down “under the strongest suspicions of incendisrism.” Each operatic eeason was @ financial failure, but each ue geason found some noble patron ready to throw his private forfune into the breach. For the exclusive clique of high society clung—as such eociets will—to its idol the more, the more the general public repudigted it, It was a tine perception of the true etate of affairs which sug- gested to the poet Gay his ‘“BEGGARS’ OPERA.” ‘It made inetaneously what managers call “a tremendous hit.” It created » vent for the long ent-up weariness, scorn. and langhter of the English audiences ; and the tide, ouce set in its direction by the lower stratum of the public, speedily carried the very cream of society along with it. Looking over the ‘‘ Beggare' Opera” at this distant day, it is easy to see that its im- mense success was dpe to the fact that it mot so exactly the temper of the moment, rather than to its inberent merits. Gay gauged very accurately the public weariness of stilted trag- eds. fine-spun sentiment, and affected elegancie: and he laid on his colors with a bold hand. In- stead of gilded salons and pretentious courtiore, it presented a low resort of the London thieves. The eudienco saluted with rapturous delight a heroine bearing the thoroughly English name of Polly. No Armida or Eodelinda ia gauze and dismonds, but a red-cheeked lass in the simple and becoming costume of a girl of the working clacs of that day. After their jong surfeit of Volumnias, Flavias, Rinaldos, and Floridantes, THE PUBLIC FAIKLY REVELED in dramatis-persone beanng the cogoomens of Black Moll, Bob Booty, Betty Dory, and Jemmy Twitcher. As for the hero, Caplain Macheath, he did far moze than any Buiwarian hero’ to idealize . the Knights of the Rosd; and when the dashing highwayman sang, in arol- hicking voice. ‘How happy could 1 be with either, were t’cther dear charmer sway!” or “Pretty Polly, eay,” to the tune of ‘Over the hillg and far away," ladies of quahty raved about him, aud Duchesses declared him irresisti- ble, “Acother feature of this opera, which was highly relished, was the introduction in the puveipal arias of popular tunes, such as “Tho Jest time I came o’er the moor;” ‘Britons, strike home;” ‘Chevy Chace,” and ‘Green Sleeves.” Bfacheath’s spirited solo, “Hark! I hear the sound of conches: The nour of attack approaches,” ‘was set to the march in “ Rinaldo,” with drums and irumpete, But the great charm of the piece lay, after al! in - POLLY PEACHUM ; and. if Gay intended to show that a thorough Engheb girl, with » warm heart, and without af- fectations of cultare, waa more fascinating to Enghebmen than avy foreign goddess or prima donba of them all. he certainly succeeded. The pleco ran uninterruptedly for sixty-three nights; aud Miss Fenten, who was theoriginal Polly, had the nobility cf London at ber feet, At the close of the season, ehe became the wife of the Duke of Bolton; und the two actresses who succeeded Ler made marriages bardly Jess advantageous in a worldly pont of view. The success of this lit- tle opera is well worth consideration, because it points 80 emphatically the moral, that what is patural, teristic, and national, has, in ita ? very nature, elements of success not to ba eom- penzated for by the most consummate art. The clastic opera, thus extinguished in the laughter of onera bonffa and English burlesque, was succeeded by what might be called THE ERA OF MELODY. Ja this epoch, the libretto—that is to say, the words and sentiments—was nothing; the music was everything. Given a fine soprano voice and i geympatheiic tenor, the object of the drama was to improvise a few appropnate situations, in which tho capabi ties, the delightful quality of these vaices might be shown. Huirving over the recitative an dialogue as an important bot noceseary tribute to certain obsolete conyen- tions of the-stage, the artista dropped into melody on every conceivable opportunity. This was pre-eminently the age of the aria. ase Swiss mompiaing the Bovemisa valleys, the German forests, were raneac! for frech, origipal melodies. A prima-donna of these operas was. first cf all, a ainger. If sbe were an actress also, s0 much the better. But you did rot o 6e6 Malibran personate Yorma, nor Sontag sina, go much as to hear “Casta Diva," and “Una voce poco fa.” .This explains what must always seem to novices an incom- obatalble foainrp of attiata trainpd in thls school: that, in an impassioned prayer, the rimadohea never by any accident looked eavenward, por wasted any eloquept tones or gestures upon her lover ;. but, in the’ first case, always fixed her melting eyes upon the first row of boxes, and bestowed, in the latter, hor tenderaess upon the front seats of the parquette. The chorus of these operas was generally most unfortunate col- lective own, Introduced apparently for the purpose of amneitg the audience while the chief actors effected a change of costume, it was too frequently composed of hastily-drilled super- numeraries; and, betraying « consciousness of ite wretched status, was generally pounced upon by perplexed knights of the quill desirous of a favorable point for the display of critical acumen without the risk of oftending s popular manager or a celebrated singer,—a device which the critics still retain among their aits. ‘his kind of opera was, of all others, best adapted for representation in detached fragments, brilliant arias, and hence may be dated ITS POPULARITY IN SOCIETY, not en the Continent only, but in England, where it met for the first timo with genuine, though not universs|, favor. Hearty lovers of the old English ballad still caviled, however, at the utter insignificance ifito which the worts of the aries were compeliea ; and declaimed against the soulless cbaracter of music dependent solely on porfectly-executed notes, without sentiment or expression. At this period, s gentleman made the famous wager that he would cause the following ‘words to be suog in full drawing- room, and received as pure Italian: ‘Seo Clo- anthe, In the pantry, Gnawing of s mutton- bone: How ehe gnawed it, How she clawed it, When ehe found hereelf alone.” The words were sung bya fine soprano to popular aria, and were received with delighted applause, with- out awakening a suspicion of their comio char- acter. * ‘And yet, making every allowance for their de- fecta, a great deal of undeserved obloquy has of late been visited upon this gpecies of musical compositions. The charm of pure melody is LEGITIMATE, FATURAL, AND UNIVERSAL. It is that part of music easiest of comprohen- sion, most readily enjoyed. Thie does not provo it tobe puenle, or attractive only to childish minds. A perfect melody is like a perfect flow- er,—as much a thing of beauty as @ single rose or violet. A great dramatist doubtless ranks above a writer of simple lyrica, yet. the world could very ill afford to loge its songs, Another plea for these operas is, that they give scope to many exquisite voices whose ownors utterly lack the power of dramatic impression, To have heard Brignoli sing ‘Com’ e gentile,” and ‘ Ob! che Ia morte,” was a joy for yeas, if not forey- er; and why should it bave been dented us be- cause he was wholly incapable. of playing the chief part in a romantic drama? Neverthelees, the popularity of this class of operas haa, in the last few years, waned before j that of ANEW TYPE. . In the masterpieces of Bellixi, Donizetti, Verdi, and Rosauui, ‘the plot is froquently little more than a thread on which to sting the brilliant melodies ; the language 1s orten unmeaning and trivial, But, in Faust” and “Romeo et Juli- ett,” Gounod had a greatinspiration. He made the two greatest poets of Germany aud England write his lbretios. The notes no loager rule imperiously ‘the sentiment and language ; the music aspires earnestly to refloct the thought of these great masters of the enotions, The pas- sion of ** Fangt,” the tenderness of * Romeo and Juliet,” the pathos of “Mignon,” are the passion, the tenderness, the pathos, of Shakspeare and Goethe, interpreted by music. For, iu “Hamlet” and ‘ Mignon," Ambroise Thomas followed the same path,—adopted a similar method. These four operas, whose pop- utarity has, iu the last few years, oxceeded that of all others, belong to anew school, often called the Romactic. To mark the difference between them and their predecessors, one may recall that “Trovatore” was sung in this country with great acceptance by Parepa and Briguoli—tbe rounded perfection of our great ballad-singer'’s yoice, and the silvery sweetness of the great tenors tones, sufiiciently filling the demands of the opera, thougn the torms actor and actress could be applied to neither singer. But no imag- ination.can contemplate the twoiu the chief roles of “Faust” or **Mignon” without a senso of the utter absurdity and impossibility of the situation. To ail close opservers of the progress of the lyric drama, it was evident that, in these later products, it bad taken higher ground. Thi recent presentation of ‘\ LOHENGRIN” i makes it plain, however, that, long before “Faust or “Hamlet” hed clectgifed Paris, Richard Wagner bad stcuck the kes-uote of the new ides. To those of us—andour nume is legion—who knew Waguer by isolated fragments only, this opera has come with all the force of a genuine and delighiful surprise. We sent to seo it as agort af duty, in our character of modern Atheniaos unwilling to neglect seeing or heariug any new thing. We went intranched in preju: dice (built up of rumor) againet the work and the man. We thought, that—aa Paul Fleming said of Tiedge'a ** Urauia,” thatit was in the highest degree poor aud piour,—we sbould fiad it wondertul and wearisome in the extreme. We thought——but bere the curtain rose. Before us, the blue waters of the Scheldt. Under the cake in the foreground, Henry the Fovler, surrounded by the nobles of Saxony and Brabaot. ‘The first surprise 1s in the proclania- tion of the Herald and the speech of the King. Both have the heroic riag, the sonorous cadences, of the ald, romantic chansons de gesle. Theuext noticeable feature is the effective character of the chorus. Not only in this scene, but through- out the opera, it has the grandeur which belongs to THE VOICE OF THE 2ANY. It is the power outside the individual, com- menting upon his actions or confirming them, and, in this respect, partakes of the natwe of the ancient Greek chorus. As rendered here, the chorus was at times noble and spirited, andat others weal: and deficient in unity: but the idea of the composer was, notwithstanding, apparent through all. “The dramatic action in this first scene, introducing the chief characters, is swift and animated: Henry, type of the old’ German Emperors of the elective dava, brave, impartial, a chief among chiefs; , usurping roler of Brabant, type of rude, undiscerning Forge, easily swayed by secret cunning and weakaess in the person of (r- trud; Ortrud, fierce, cruel, unscrupulous, product and type of a dying mythology ; Elsa, the vague yearning of an age of transition for something higher and better than its actual sur- roundings,—all these characters, though emi- nently symbolic, have the magnetism of warm, personal existences, while each is surrounded by an atmosphere of poetic suggestion which en- Jarges and enuobles the traita of each. Esa, accused by Frederick of the murder of her brother, the heir of Brabant, accepts the trial by combat in proof of her innoceuce, with the King as umpire. Summoued to elect her defender, she names no valiant knight beforaher. Like so many s maiden befure and efter her, sho has seon her hero in dreams. The world around her smiles; the Hing remonstrates; her enemies tanut—ber answer is still the same: ‘ Believo me, for my champion NO OTHER WILLT TAKE.” The Herald makes proclamatian; the tram- pets sound. These trampets are one of the most delightfal devices of the opera. The sound of the trumpet is, in its nature, a noble and thrilling one; its suggestions are algo powerful, of legendary’ heroes, and the elder days of Ro- mance, But no knight comes. Again the trym- pets bfow. East, aud West, and North, and South, the, echoes fly. No answering ‘blast. Then Evsa, falling n her knees, pours out ‘her soul in pagsionate supplication to Heayen. Ab- sorbed by this prayer, the spectator becomes conscious of # murmur, which grows and grows. The knights ‘strain forward; the King stands up; Elsa utters a shriek of joy. From the blue windings of the river comes into view a swan, who draws a boat. In this boat,—his golden helmet blazing like a star, his flexile armor scat- tering rediance,—clothed in light, indeed, stands a knight. ‘This Gret appearance of the champion ig the ase MOST STRIKING DBAMATIC EFFECT of the opera. ‘It is electrical. It even awakens that grad and rare emotion which blends 80 much of awe with ite intense, fleeting joy. It recalls Sbakspeare’s “As glorious to the sight as is a white-winged messenger from Heaven.” To the praise always lavished on him who at- tains in Art the highest degree of novelty, Wag- ner has here some claim. “From the moment of the knight's appearance, he concentrates all at- tention on himself. It is in the dead silence of breathless interest that he steps on shore ; and itisin this parfect pause that the sweet and tender character of the music ‘in his farewell to the swan becomes apparent. Up ta this point, it ia mot too much to say thatthe dramat- ic effect has eclipzed the music, and rendered it difficult‘ to pass any judgment thereupon. He advances and salutes the King; he ‘addresses Elsa: “If m the fight I prove victorious, Elsa, wilt thon become my wife?”- And. upon her assent, he demands the promise: ‘These ques- tions ask me never: From whence I hither came—What is my rank or name.” And here again the opera becomes emblemat it is man. hood epeaking to manbocdi it is inherent nobil ty addresaing the traditions of caste. “Ask ma not my name, nor whence I came.” After this, the ‘MOST STRIKING PICTORIAL EFFECT— if one may use the expression—is the attitude of Lohengrin above his prostrate foe, like one of the victorione Archangels of the old painters, “yriugmphant but mefeiful. » Nor, while speak ing of pictorial effect, ought we to pasi over the wedding-procedsion in the cecond act. Here, the white light of morning, falling on the fortress- towers end the gate of the old minster, throwing into clear rehef the pure, rich hues of the dresses of the wedding-guests os they descend towards the Cathedral, produces an admirable effect of light and color, suggesting one of ‘Titian's pictures. . ‘The opera culminates in the third act, whose chief feature is its exquieite presentation of the most absolute, most misrepresented of all pas- sions,—Love. (It is hove that the Italian trane— lation ia most inadequate ; that one needs most the tendérnese and simpticity of the German or Engliah words.) In no other opera is there such a picture of love as this. That of Faust and Margaret is touched with the shadow of near re- morse ; that of Romeo and Julielle is more pas- gionate. and self-absorbed; that of Afignon, highter and more visionary. But this is the ideal dearest to the Anglo-Saxou race;—the deop- seated sentiment, born of absolute trust and per- fect sympathy, which, in the hour of ita greatest happiness, acknowledges obligations beyond aod above itself. In this act, the resemblance of the theme to the old Greek myth becomes more ap- parent : it is a medioval Cupid and Psyche. In short, ** Lobengrin” is & NOBLE AND DEAUTIFDL FIGURE . added to the world of Art. Whence comes it ? The “Knight of the Swan” 1s familiar to Ger- man children from their nurge’s tales, and he ap- peata here and there in legendary chronicles and isolated poems; but, for the harmonious and vigorous dramatic poem which the hbretto certainly is, we know not where to look, if not to Richard Waguer. So far, we have dwelt but little on the music itself. Ona single hearing of the opera, it is not the mnsic which impregoes one most. ‘The music is tera the servaut of the thought: slways harmonious, always appro- priate, grand, plaintive, sweet, and tender, py tnrna : Btill, it is always the idea which comes to us first; thé miusic which ia ita medium is our second thought; and, = like the best janguage, whore it 18 most perfect asa medium it obtrudes itself upon us the least, This, it seems to us, and not the abseuco of arias or epecial melodies, is thé great difference between this opera aud most others. Whether Wagner shali hereafter be acknowledged ann great musician or not, it appears to some of us that ins work in music, like that of Michael An- geloin scalptare, will ga : Fal BEYOND THE WORKS THEMSELVES. Such au opera as this is destined to enuobls its species, aod to reach forward and touch with its influence the stage itself. [¢ must affect the harabest prejudice. What! shall we 2- low to youth the circus and tt) radé jokes of the clown, the thought- less micrriment of the wiostrels, or the dotbiful moral of the parlor farce, and warn them from this representation of ideal beauty and virtue’? Bacon says that ‘ Dramatic poetry 1s hike visible history.” If Waguer persoveres, the school and the pulpit will yet own sn anxil- inary in his '* historia svectabilis.” It hia later operas keep the promise of this, their tendency will be to eanoble the stage, and we shall see the beginning of anew ageof the diams, and a drama worthy the age. And thorefore we say that this opera is the first ripple of a high tide, Cuantes Laxpor. ————_ OPERATIC GOSSIP. COLLAPSE OF THE STRAKOSCH TROUPE. The most important event in the operatic world is the collapse of ths Strakoseb troupe. | The New York Times says: ‘There will be no spring season of Italian opera at the Academy this year. For some weeks the probabilities of sseries of representations by Mr. Strakosch’s artists have been growing more and more slender, and finally the project has been relin- quished. We hear that the operatic company will be transformed into s concert troupe, and it is even whispered that Mile. Albani is to retarn to Europe at once. The financialcondition of the country add the ever-increasing expenses of im- pressarii haye brought about this unfortunate state of affairs, in consequence of which Italian opera in the United States is once more on the insecure footing from which, at one time, there seémed a likelihood of its removal.” The col- lapse, though sudden, has not been unexpected by those intimate with the affairs of the troupe. ‘The general busioess through tho country may ba judged from the figarcs of the business in Chicago during the recsut two weeks’ season, especially ag the busineas here waa about the best the troupe has done this season. We pro- duce tho figures, which speak for themselves: FIRST WEEK, Jan, 18, Traviata. Jan. 19, Lucia, Jan, 22, Ernani.. Jan, 23, Mignon (matines) Jan, 23, Aids (evening). ‘Total.... . 25, Lohengrin... 38! Barbet of So Jan. 30, Faust (matin Jan, 30, Ray Blas (evening) ‘Total... Grand total... “ ‘These are the gross receipts, out of which all the expenses of the theatre and the salaries and traveling expenses of a troupe of ninety persons had to be paid. GENERAL OPERATIO GOSSIP. The English Opers Troupe bas closed its New York season, and commences its Boston’ season to-morrow evening with “ Martans,” Mrs. Vao Zandt and Mr. Oastie appearing. The eyent of jast week was the firat production of Balfe's posthumons opera, * The Talisman,” which was originally brought out at Drury Laue Theatre last season. it was given on Wednesday night with the following cast: Edith Plantagenct, Miss Kellogg ;_Berengaria, Mies Beaumont ; Richard Cour de Leon, Mr. Carlton; Sir Kenneth, Mr. Maas ; Emir Sheerkohf, Mr. Hamilton ; Necia- danus, Mr. Peakea. The best piece of news from the troupe is the report that tha troubles between the management and the singers has bean compromisad. “On the 15th of January last the wealth, beauty, and fashion af Cincinnati turned out eu masse to witness the dedication of 3 grand Ger- man Opera-House. Tne Hop. Fred Hassaurek— Cinoivnati’s Schurz—made a flowery snecch, in which he pictured unparalleled success fdr the new exterprige. All went swimmingly until day before yesterday, when a long list of creditora came dawn upon it with one fell swoop and wound it up. Itigveryead, but auch things often happen in Cincinnati in these times.” Tho above unkind remarks come from St. Louie, where they are hayjng the worst local opera in America, : Even the new Paris Grand Opera has its troubles. Great dissatisfaction is showa in Paris- ian artistic circles st the cool passing over of such artistes as Gueymard, Rosina Bloch, Mau- duit, Begugrand, gnd Fouts, at the inauguration. There iy also a ferce dispute about the payment for fickete. Marebal MacMahon paid personally for those of the Lord Mayor, but the Queen of Spain had to pay 90 francs per seat, and even M. Charles Garnier, designer and architect of th building, wag graciousiy accorded oy the Minis- ter a box on the’second tier for the modest gum of 120 fraties {nearly $25). Nilsaon’s bronchitis continues, and she won't sing tillit’s woll. Faure hates Halanzier, the manager, and, though’ he has eleven months of his two years’ engagement to carry out, and has promised to stay until a new Minister of Fine Arts ‘shall be appointed, when he trusts a new manager may be Tatalled, there ia no faith pinned on his staying. - After all the hubbub, the receipts were only $5,000 at the opening. : SS AT HOME, THE RICHINGS-BERNARD CONCERTS. Neither the unprecedented cold anap nor the spiritual rigors of Lent have laid any embargo upon concert-giving. ‘The last week has bean most mduetriously occupied by the indomitable ‘Mra, Richinge-Bernard ‘and her very excellent troupe of singers, who have put ten concerts in seven days, with a degree of patience and of musical success worthy of & better fate. The’ audiences have been in inyerse pro- portion ta the excellence of the perform- ances; for althonzh the troupe, considering ita numbers, ia chorally stronger than almost any other combination in the country, although the programmes haye been very varied and tle performances pleasing and attractive in charac- ter, they have nof been strong enough to tempt any considerable number of people away from their snug firesides these cold nights. And now in addition to the cold weather comes Lent, with its fasting and seclusion from worldly pleagures, and yet the concert-givers ara not disposed to Yield poasession of the field. E ‘This evening, Mr. S. G. Pratt wili give the second af, his series of . a SACRED CONCERTS, which he inaugurated with very marked success afortnight ago. It is to be set down to Mr. -Pratt’s credit that he hag adhered to his primal announcement, and makes bis programmes of logitjmate sacred music, and the same time + 8, Concert Polonaise. | narrow domain of pébuyroyal ot paélia taine. His second programme, like his first, is filled with musio which fill delight not only those who do not wish to have their Sunday prejudices dis- turbed, but sill also appeal to those who want to hear really good music from # mnsical atand- point. He is also fortunatein having the assist- ance of such excellent musicians as Mrs. J. C. Jones (soprano), Miss Noga Kellner (alto), Mr. Schultze (tenor), Mr. Goodwillie (bass), . Miss Ingersoll (piano), Mr. Lewia (violin), and Mr. Eichheim (‘cello). A more éffective combination for an enjoyable concert could hardly bo mado from our homie talent, ‘The concert will-bé given this evening, at thé Church of the Moasiab, and the programme will be as follows Organ voluntery.. 1, Quartette—“' Hes: 2. Andante and finile from ‘Trio No. 1— . Violin, ’cello, and piano, .. Messrs, Leus wm| Kichhem and Alves Incersoll, | 8, Senor sole arratigad from * Alda ...... «+ w ir. Schultre, 4. “Sancta Maria "Trio for alto, 20) tenor, Bias Ke 5. 'Cello solo. 6, Ave Matis,” arrange Mra, J. C. Jones. (Accompanied by violin, organ, and plano.) 7, Brayor from “ Motes in Firype"....-+ sini Hr, Goodwilite and Chair. 8, Andante from Oclotte, op. 166..........,. Schubert (Arninged for organ, piano, violin, and *cello by Theo- Ai Tnacrwalt, Mesers beers and Biehhcim, 9 Vocal dust—"«‘The Angel (a Rubinstein Shes Kellner and Mr, Goud 10. Sesrtabe=* satiate a hi Ul, Organ postludo,.........eres-see i On the Monday and Tuesday evenings stic- ceeding, the convert-going publié will be called upon to give their patronage to the GILMORE CONCERTS, the firat of which Will be given at the Union Park Oongregational Church, and the second at Mc- Cormick's Hall. Who Ar. Gilmore is, or what band under his direction would be, we need not inform ourreaders. The hero of three jubilees will ot come here a stranger, and, although his band is nov a New York instead of « Boston or- ganization, we may take it for granted it is not an average one, but something out of the com- moa. Inadditiou to the band itself, Mr. Gil- more brings Miss Emma C. Thursby, a young soprano ef whom jumor speaks woll, Mr. Ar- buckle, the best American cornet-player, Atr. Le- febre, a saxcphone soloist, and other soloists. His programmes, which appear elsewhere, are msde up of popular music mainly, and will thus give the prumblers af’ clas- sical music an opportunity to listen to a concort in which their ears will not be vexed witb, any- thing mare classical than Wagner and Weber overtures, On Thursday evening, the 18th, the long-exprcted _ _KMOSICAL COLLEGE CONCERT, by the students of tne College, assisted by orchestra. will take place at McCormick's Hail, under the conduct of the Director, Mr. Florence Yopfeld. Mr. Ziegfeld bas been preparing for this concert all winter, and has given to its re- hearsals the most careful and discriminating work, and we gnay therefore expect to seo it rep- resent tke best talent of the College, and the re- sults of the training which that institution se- cures for its pupils. The programme has beer made up with aousual care, and appeals notonly to the friends of the College, but to the whole musical public. A programme which includes three sueb numbors as the Burgmuoller concerto, the Reiseoke concertatueck, and the Hummel concertc, progents unusual inducoments to musicians and yousical connoisseurs. The tickets have aleady sold very largely, and those who intend going and wish good seats should secure thom early at McCormick's Hail, where they will be for mle daring the week. The programme will be 1s follows: 3. PART I. 1. Overure—Te “Prometheus”...........Besthoven, Orchestra, 2, Scere and arla—From “Night in Gra- nale”, sore Rroutzer dr, A. Schias & Conerto—(With ‘arvhestral ‘acompaniment), ........Norbert Burguueller Bir. Lowia Oester!e. 4. “wth Verdure Clad,” from “The Cres- thn : + Haydn ise H i, 7. Capriccio brilliante—{(With orchestral ‘xccompaniment)... +++Mendelasohn ies Tda Rosing. ‘ 8, Waliz—From “Romeo and Juifet”.., -Gouned ira. W. E. Foote. % Cancerto—(With orchestral accompsni- ment)... asace ++-Hommel as Clara. ire F. “ft Yoote, Mise He ‘Minera We. ra, We isa He 3. eC. : Cagis and WJ. Fairmake BENEFIT CONCERT. ‘The concert at Turner-Hall this evening will be given for the benefit of Br. Tens Balatke, the conductor, and the programme will be as follows: 1, Overture to “ 2 Rienzi”. 5. © Pilgrims’ Ohorus”........ Liederkranz, 6. Overture to “Robespierre®,..., 1% Avis from “Favorics fr 9. Tele from “ Bellagrio™ ‘Mie Galatia, Mesere. 10, Caraival potpourri... : THE REY. JOHN GORDON. The following ig the programme of the grand concer; snd literary entertainment to be given to oreday the Rer. John Gordon at Farwell Hall evening: PART I, 1, Quartetto—“‘ Forest Song ”.........+ Blang Quartette Club—IP."C. Co; D, A. Kumbark, C. 2, Reding—“‘The Birds of Enderby ”..Jean Ingelow Mrs, Slayton, 3, Soio— Beneath the evening’s last mweet ‘ smile” ‘Schubert "Bit, By Séliutzes °° 4. Pimo Bolo Tavtatin to Dance ®. Weber Tausig ra. WFateon, &, @oprano Salo—‘ Lo, hear the gentle lark ". Bis + aerrras Dither (asek appearance te chieagoe ? 6, Boo" ron ee eeeeeeee J P parr D 1. Quirtetto—“ Knight's Farewell *............Kinkle ~Bluney Quartetle Club. 3 2, Teor Bolo— Neures, my God, to ‘Thee ” (b; ve" Ghal POqUESL,). coe eeeeeee Mr. 8. Schultze, fa Nuctuene 55. Guests 8. Pane flo {PE EAS) sexe AEE rs. We a 4, Buding--“Scena from the School for wee" “Beandal. he dra, Slayton, ns 5, Slo— Flour dea “Alpe”... ; ” Mixg Buaher, 6, Dust... ; “Hr. Gopdunilig and ir. Schutize, BENEFIT CONCERT, 4 concert for the beuefit of the Woman's Bojrd of Mistiong, uuder the auspices’ of tlie Jades of ‘the First and Second ‘Presbyterian Ghirches, will be given at the First Church on Manday eveniug, the 22d inst. The programme, which will ba a very attractive miscellaneoug one, wil be iu the hands ‘of the choirg of the two chirches, which are as follows: First Church— Mies Haskell, soprano; Mrs. Johnson, alto; Mr. QOts, tepor; Mr. CO. T. Root, bass.. Second Chireh—Mrq. Farwoll, soprano; Mrs. Balfour, alu; Mr. Howard, tex sod Mr. Sloan, bass. MUSICAL GOSSIP, PERSONAL, Gf two of the Isdics who are to sing at the forthcoming College of Music concert, we have bem furnished some interesting facts by a com- petnt authority. When Mr, Cari Zerrahn was how at the National Normal Musical Institute, Mis. W. E. Foote took a few lessons of him. Hegave extraordinary praise to the lady, aud toll her that n0 one in Boston had any better voral gifts’ and talent than she. She wat to Boston snd studied with Mme. Rideredorf, in ‘whose family ehe resided, ani a letter from the Madame corroborates all that Mr. Zerrabn had said. She, further, made propositions to bring her out, which were accepted. ‘Mrs. Foote has now roturned to thia city and re- canmenced her studies with an earnestness and evergy quite unusual, and is atfaining results which Will soon enable her to realize all predio- tious. Mies Glenn has ‘studied faithfully for two years, She aime at high attainments in the artistic world, and goog abroad next aummer to continge her work 38 long as is necessary. ing ber sing, offered to intro- Muzio, after hearir duce her in Paris, and gave her letters. to the Principal of the Milan Conservatory and others, in which he saya thst the young lady haga “gracefal, beautifal voice.” Miss Glenn will giYe '& concert here befora going. Both of theae ladies aye avoided public singing ‘thus far in order not to interrupt preparatory work. 2 lig, tHe emitient pianist, will be glad to learn that she gave a concert in Vienna ou the 12tu of January, at which she played with Frau Menter with great success. ‘g Miss Linda Gilbert, the penal-institution phi- Isnthropist, formerly of Chicago and newspaper- libel fame, is about to have a concert given her in New York, in aid of her work, in which Al- bani, Cary, Kellogg, and De Mutraka will sing. ‘One Dr. Fiéber, of Vienna, has been looking into Lucca’s throat, and has given the results to the world in a rather grandiloquent and pedantic style, as if he bad discovered somethibg new in ber larynx dnd vocal chords. His report is very long, but does not add ono syllable of informa- tion to what was discovered years ago by Manuel Gareia, the musio-teacher, «aye. The meng friends of Mrs. Cassio Matteson, who held a leadig position in our musical circles so many years, will be pleased to hear that she is alive add well, notwithstanding the reports of hor death which have been current of late. We are enabled to state, by direct intelligence, that she is in Sydney, Australis, and will shortly go to Capé Town, Africa. The following deaths of itsicians are report- ed since our last: Valentine Hamm, s well- known march comporer, at Wurzburg; Hein- rich von Inten, 4 violinist of the Gewandhaus coucert at Leipzig; ‘and Ernst Forchtegott, an eminent teacher of Vienna. ‘The death of a German pianist, who had some famb in his career, Peter Pixis. has taken place in Baden-Baden, where he had retired for some years, and was & professor, He was in his 87th year, was boro in Mannheim, and was the son and brother of distinguished musicians. —>—__ NEW MUSICAL WORKS, MUSICAL LITERATURE: is well represented abroad just at prebent. Atong the recent announcements are a series of works by John Hullah, elevén in number, among them a “Grammar of Musical Harmony," “Grammar of Counterpoint and Time and ‘Lune in the Elementary Scliool”; ‘* The Philos- ophy of tho Voice," by Charlas Lunn; Wailace’s “*Maritana,” with the recitations set to music by ‘Tito Mattei ; five theoretical works oh piano in- struction by tho late Sterndale Bennett; “ Musical Statics" by John Curwen. M. Gavacit, the Principal of the Brussels Conaervatoire, has awork in the press, being the first volime of “L'Rietoire et Theorie de Is Musique d’An- tiquice,” and Herr Hansick, of Vieona, is about to publish a work on Modera Opera, A biography of Clementi is in preparation at Rome, and his friends and pupila in England, or their repreaentatives, have been appealed to, to Jend the authors any letters, books, or old n3ivs- pepeis, relating to the composer, likely to prove useful in the compilation of the work. Arthur Sullivan has written the music to a Christmas extravaganza called ‘The Miller and His Man.” Lecocq bas written the inusic to three of Farnie’s farces: ‘My New Maid,” “The Barber of Bath,” and ‘Retained on Both Sides.” Among the latest Enghsh novelties iss MB. symphony by Mr, G. Lohr, an English musician, ‘fhe London Orchestra cays ‘We have rarely heard a more masterly composition in a debutant for classical fame.” ‘M. Rosenboom, the chef d’orches're of the Brussels Fantaisies Parisienues, has composed an opera, the '* Dey D'Alger.” the libretto by Af. Bresil, which will be soon produced, Signor Marchetti, the composer of ‘Ruy Blas," has a new opera for the Milan Scals, “Gustavo Wasa.” The February number of Brainard’s Musical Worldcoutains a very interesting article by Prof. F. L. Ritter on curious musical manuscript dis- covered in the library of Miami University, Ox- ford, O. Itisaleaf froman old Miseal, appa- reutly of the twelfth century, the notation being in the ancient form known as neuma, on yellow, black, and red lines, It was pasted in a copy of Aristotle printed at Basle in 1531. The celebrated Danish compoeer, Prof. Niels Gade, has consented to compare a symphony fur the Birmingham Musical Festival. Prof. Gade will go to England to conduct tha performance of bis work. oe IN GENERAL. CONCERTS, Reinecke’s new symphony has been highly successful at a recent Leipsic Gewandhaus con- cert. 5 Sivori, the celebrated violin-player, was at lat accounts giving a series of concerts at Lyons, with great success. = Carlotta Patti is to sing in St. Petersburg, where they will probably be more considerate than to announce her as “the sister of Adelina Patti.” Performances of Handel's oratorios continue to attract large audiences in Paris, where a So- ciety of Sacred Harmony has now been formed, under the direction of M, Lamoureux. Schumano’s “ Paradise and the Peri” will be performed at the eighth Harvard Symphony Con- cert, 18th inst., for the first time in Boston vith orchestra. The choruses will bo sung by the Cecilia. é Dr. Von Bulow, owing to his indisposition, has myen up his proposed pianoforte recitals in rusgola, and Will remain in England for the present, He will play at Liverpool the end of this month. At the sixth of the Peabody Concerts in Balti- more, on Saturday, the Gth inst., Mr, Hameriok roduced the symphony in E minor by Ferd Hil- ler. Mr. Richard Hoffman played Mozart’s D minor concerto. Hoffman’s symphony ‘Frithjof " is the latest novelty introduced to New York by Mr. Thomas, Saturday evening, the 6th inst., and impressed many of its hearers with disappointment, as be- ing fullof reminiscences, and inferior in orches- tration. Thecriticof the New York Evening Post, however, foundite orchestration * particu- larly indicative of highbly-cultivated taste and great practical knowledge.” It consists of four distinct movements, ontitied “* Frithjofand Inge- borg;” “Ingeborg’a Lament,” “Elyes of Light and Frost Giants,” and ‘Frithjof's Return,” jaca MUSIC AT TURNER-HALL, LETTER FROM HANS BALATEA. To the Editor of The Chicago Tribune: Under the above heading, » communication was sent to your paper last Sunday by Mr. W. B. Mathews, which does great injustice to a musical enterprise considered meritorious by a great number of our best citizens. Knowing that Mr. Mathews is personally earnestly inter- ested in the advancement of good music in our midet, and knowing further that he would not intentionally say or write anything detrimental to a truly-deserying musical enterprise, I am led to presume that the source from which he de- rived his information was not reliable ; and Iam confident that he. and all others who may hold similar opinions, will cheerfully change their views on this subject after having considered the following facts, which I may be permitted to call their attention to: Air. M. says that the programmes of the Turney-Hall concerts are almost entirely com- posed of,dancing music, to the exclugion of bet- ter compositiong. First, the contrary ig the case. ‘The programmes, consisting of ten pieces, never contain more than two compositions of dancing music; and these are always played at the very eud of the performance, where music of a higher order would only be spoilé by the inoying habit of some people who persist in leaving the hall before the close of aconcert. I algo think that Mr. Mathews goes too far when he asserts that dancing music, above all other things, etim- ulates the sexual passions. This charge ap} with equal force to anything emotional, even religion not excepted; for the proofa of which we need not go very far. Dancitig music is ex- pressive of pleasure, of chaerfuluese, or even of paroxysmal jay, if you please; and, since these things exist in our nature, their expression may be permitted to exist in music, aluo. Symphoni¢al compositions, or parts of sym- Phouies, instead of being few aud far between, as Mr. Mathews sys, have been on | every programme almost without exception; and euch “ names ‘‘as’ Beethoven, ' Mozart, Schumann, Mendelssohn, Ulrich, Onslow, and others, are familiar to evary patron of these con- certs. About the manner in which such compo- sitions are performed, the follawing may serve a8 an illustration: A gentleman of high musical culture, recently from Berlin, was present at the performance of the Andante from Beethoven's Fifth Symphony, isst Sunday evening. After the perfarmance, he solicited an introduction, and enthusiastically assured me that opr render- ing of the composition, especially the interpeta- tion of it, was equal, in every partisular, to | best efforts of Bilse’s orchestra, * Two overturea af least (one claggical and one { romantic) are played at evory concert and that the ‘former are of the very highest order, the following specimens’ will ciently show : Taanhauser, “Rienzi, ‘Lohevgrin, “Midsum- mer Night's Dream, Eemont Fidelio, Qber- on, Don Giovanni, Magic Flute, etc. One niimber in the ‘programme is always given to solo’ performaxeces’ on ‘the ‘violin: Autor ‘oboe, trombone, étc., or to transcriptions of yocal solog for orchestral ingtrumenta.'’ Twe operatiq Liszt's * Concerto Pathetique,” for two pianos, | selections—fantasias or paiotrele are also played in every concert. Itis very trae that an entire opera would be preferable to an operatic selection ; but an opers is, in the first place, teo expensive, and, secondly, not always to be had. Itis abou! the same with an opera as with flow- ers. Everybody would, podoubtedls. prefar to have 3 whole garden full of beautiful flowers, but, if w6 canvot bave that, the noxt,best thing to it will be s nice bouquet of flowers. A grand finale from some standard opera, and as grand march, generally fill the reat of the programme. ‘The partaking of refreshments does not seri- ously interfore with the enjoyment of the music, —not any mora than in Central Park Garden, or in the public gardens of Berlin or Vieuna. No- bedy is obliged to drink anything, unloss he chooses to doso. There is quites numer of Indies and gentlemen at Turngr-Hall every San- day, quietly listeving to the musie, without tak- ing any refreshments at all. Aad let me add, in this connection, that we ought to look with less Gisfavor upon the social features at these con- certs, since itis by thém alone that the most. worthy morical organizations are sustained. It is 4 ivéll-known fact tliat Thomas’ orchestra could not exist without Central Park Garden or a simi- jar place, he same ig true of Bilse’s and ‘Strauss’ orchestras, etc. When I took charge of thie orchestra atTurner- Hall, about two years ago, it was done with the firm resolution to elevate the staudard of music at these coucerta, with a view of something bet- ter and greater in the future. ‘That I have suc- ceeded in this, is siiffciently shown by the kind of the audituces, which are now entirely differ- ent from what they have been before,—coming from the best class of peoplein Chicago. ~ Finally, I take the liberty of extending to Mr. Mathews, and ail others who may be of tae same opinion with him, s cordial invitation to come, see, and judge for themseives. A file of all the former programmes will be on hand in one of the rooms, from which be and they can see that all the facts aa stated above are literally trae. bas Bans Barates. ———— THE DRAMA, SCENE-PAINTING. ITS REVIVAL IN CHICAGO. “The dressing was elegant and the scenery neat and appropriate,” is the “finally brethren” which usually ends the newspaper discourse upon a dtamatic performance nowadays, and, taken moderately, it isnot farfrom the trath. The diessing of pieces in modern theatres has during the past few years been greatly improved, and in no city on the continent bas the im- provement been more marked than in Chicago. It is not many years since the public, and there- fore the managers of theatres, were quite con- tent with plain costuming, which often degen- erated into absolute mesgreness, and stage-set- ting of s very inferior quality. A few chairs and tables, with the same old stage-carpet, stuff gowns, and the same worn-out pictures; the same dusty curtains and furniture, served to wet off; any of the plays which held our stage ten, and even five, years ago. Our theatres then were on 4 par with the setting which the manager thought good encugh, and, to tell the truth, most of the dramas which reached the popular taste before the Frencb school came in were of » character to demand nothing more elaborate. But with the introduc- tion of THE FRENCH DRAMA— from ‘“Frou-Frou” to ‘Article 47,” and such pieces—camo a demand for something more ex- pensive, because more in keeping with the aub- jecis illustrated. To Augustin Daly more than to any man does the American stage owe the preeent sumptuoas atyle of dressing and stage upholstery. He it was who first introdaced the French drama, and he it was who enriched the appearance of the stage and the artists upon it. Compared with the days when nothing but one pair of fists marked “A street in Home,” a “Palace in Venice,” and 80 00, we are now richly supplied. S80 far our stage setting is ex- cellent. ‘Lhere is one department of scenic representa tion, however, in which the American stage us still very deficient, and that is in SCENB-PAINTING. It ia a fact that, in this country, very little at- tention ia paid to the subject. The ‘scenic artist,” upon whom devolves tha responsibility of the entire appearance of the atage apart from the milliner and upholsterer, isa peraon to whom such insignificant value is attached that he holds norankatall, There has been little to eacour- age the development of his art, and it does not even hold # place as an art. And yet the scenic artist can contribute largely to the suc- cess of apiece. So long as the setting of a drama is confined to 4 few sumptuous “interi- ory,” of course there is little for him to do; but the day of the ‘modern eociety drama” is onded, nd with it goes most of the demand for satin-covered farniture, Axminster carpets, laco cartaing, and the finery of the salon, THE BCENIO ARTIST, having little demand for hia services, has passed out of remembrance, buf now that some of the older dramas are coming back ppon the stage, one misses the brash of s genuine artist. The country villa, the woodland scene, the baronial castle, the landscape, all | seem to bathe ssme that were sean yeeterday or ten yearg ago, for that matter. ‘The scenic artist has disappeared. “In hig place ia the ecene-painter, daubing away from the same model precisely the sameviews. There is the eternal water, and the everlasting hill-top, the irrepressible cottage in the distance, and the indestructiple sky in ali seasons. Instead of artists we have lictle lert but mechanics. Every theatre contains a certain number of STOOK SCENES, : which are kept to do duty over snd over again. Guy Manpering gud Meg AMerrilies meet where Rosalind sported with Orlando the evening or 80 before; and Aichard’s army of six marchea glibly ‘across the identical spot to be fol- lowed six months later by Maggie Mitobell and her lover Landry; by Helen and Julia ; by Dazzle and Sir Harcourt Courtly, and the bost of people who tread the boards. That scene becomes a gort of Inquisition before which all most pass. Then agai we have a street scene in the stock. One sida contains a caureb of the ‘latest style, with modern honses ad- joining, with Jamp-posts and street-cars; the other is & trifle more ‘antique. Rut Appius Claudius cares nothing for this anachrouism. Neither Richmond nor Afr. Dombey are startled at its appearance; Afaster Waller and Claude Melnotte are equally indifferent to it Jt 18 stock scone, and might just as well bea blank wall labeled ‘A atreet in Rome.” Then again THE SAME ROARING CATARACT does duty in ‘East Lynne" and ‘! Davy Crackett.” While it is not necessary te have something entireiy new for every piece played, and not even possible, stil some concession might surely be made to the unitics of time and place. Chicago managéra havo not the advan- tage that their New York brethren have, wheres Pleca is sure to.run at Ipast a fortnight, and mi continue a geagan, and sllowauces must be made ; but, for all that, an improvement could certainly be devised. ge : EVEN THE NEW SCENES which are occasionally painted to please the pabr lic gavor very strongly of those they caver. Our scenic artisty, like actora, gre hable to fall into ruts, and paint the same theme over and over again with variations. They evidently copy from prints ‘and pictures, or “originate” their scenes from a recollection of what they painted yeara ago. There have been several. notable ‘exceptions in fhe past few years, it is trae. Hooley’s has sometimes been heightened with some neat and origical me ata of still water, too, which tor's month or two did very well, but, being ‘good, it was kept too long, an became’ stale. Halley used to paint some remarkable little rough interiors at the old Dearborn Theatre, and lator, at Myers’ Opera-House, succeeded in making his brash one of the features of the tiouse. But, bayoud cc- casional good things in this line, thera has been very little done in the way of scene-pajuting in Chicago for some time. Just now, howeyer, the lost art, for such it is in this city, ahha ' "' "18 UNDERGOING A REVIVAL, and the Academy and Adelphi ‘are sharp rivale. Mr. Gardiner hag had some excellent work dane by Mr. Piggott, but that gentleman bas the dia- advantages of 4 lack of space and the absence of a subject.’ His manner of illustrating’ “Grana Vaile.” However, shows him to be a bold and origiual designer. The effect of two or three of his scenes, even with the shal- low stage af the Academy, was excellent, aud before the season is over it is quite likely that he will farnish more work of the asme kind. The Adelphi ‘is not exactly the place to which the casual playgoer would have thought of ra< f iz for the best acene-painting we have ever ad in the city, but Mesars. Strong sod Mery have fay done by all ‘ odds 6 “moat effective work & Chicago theatre haa ever exhib- ited, “The French Spy” called out their beat efforts. Mr. Strong, if we are not mistaken, anal bare he credit of she Sseonic fects in this piecs, and those who bave 9 his work wil Pecogaizs tones its adugnal g mherit. "The first acené, showing a bastion ih the foreground, with & village in the dustince, and a tich sky effect, ig amang the moat realistic pictures we have ; Seen upon the stage. The interior of s Moorish ! palace is rich, consistent, snd bears marks of- j Close attention to detail. The drapery, arshi- { tecture, and perspective are unexcepionable, | The court-yard, however, 18 the most striki; scene of all. The paipting is remarkably bold nod impressive, and an idea of massive strength | is admirably conveyed bytheexecution. The me- | chanicslarrangement knownasthe “break-away” j through which the French troops enter ig nos j perhaps within the domain of acene-painting, nt isnot the less admizable. ‘The ruined tem. ‘pie which was disclosed in the first scene of “* fxion ” may be: cited as an instance of rugged. strength in Mr. Strong's style. ‘The idea that the scenic artist is 4 MERE LUXORIOUS APPENDAGE tos theatre seems to prevail somewhat in city, but he really is more concerned in the pre~ Bentation of adrama than the orchestra. The most exquisite music would never blind one to the absurdity of Julius Cavar leaping againit ad-lainp previous te his assassination bt the foot of Pompay’s statue,” or look- ing up at @ Methodist church for an- Buries; and to suppose that the public ig blind to theas inconsistencies is to’ esti- t8 intelligence at no very flattering value. an extreme instance, but there are ao many Inconsistencies patterned after it in modi- fied form that we are not exaggerating the ab- sence of attention to this important point, Chi- cago is not alone in this reapect. Probably there are fow cities in the country where so much care is bestowed upon the seenic secessories, But there seems to be @ general lack of interest in the matter. Jarrett & Palmer, the modern showmen, with leas regard, verharc, for esthetic excellence than most managers, have shown more respect for this department than any, by engaging upon several oo casions the services of Matt Morzan, Morgan is so far above the ordinary level of ecene-painters as to be a Inxury indeed, but his work tells with the public. His scenic repre- sSentations gave to the last revival of the ** Black Crook" at Niblo’s much of its. attractive power, and, since then, what work he haa done has been of no light importance. There is no oc casion, therefore, for mi ora to become discouraged over the slight attention paid to their well-painted scenes. They ara ree ognized as everything good is recognized, and if that recognition is not loud it ia none the less gure. Perbaps the new departure taken by Messrs. Gardiner and Grover in making their scenic artists contribute liberally to the auccess of their pieces will be foliowed by other man- agera, in a little while. Business is dull just now, during the prevailing winter of intense and unremitting iciness, but when the weather does become wo shall look for # change. ——— THE THEATRES. BETTER DAYS COMING. If this dreary winter ever does come to an end, ‘sod at that end find all the theatres now in exist- ence still open and doing business, it will show them to be upon a firmer basia than is usually the case. Considering the number of thestres in the city, it requires all the suill and fair weather that can be gotten together to steer the half-dozen houses so as to avoid s collision anda wieck, But, in spite of the bard times and unkind skies, there has been no disaster daring the week. The audiences have not been large, bat the managers generally do not com- plain. The worst of the winter is probably over, and, if this. be the case, the outlook is good. They are pretty well prepared for a spell of bad luck, The bills for the past week offered nos much in the way of novelty ali round, the thea- tres reserving their strongest cards to be played when there was % reasonable chance of their winning something. ‘M'VICKER'S THEATRE. * The strongest attraction in the city last week was Mrs. Bowers, who played in ‘Lady Audley’s Secret” and "Queen Elizabeth” during the week. The fates have besn unusually unkind to this lady, and it is probable she will avoid Obice- goin midwinter hereafter. There can be no other explanation of her bad success at MoVick- er’a than the weather, for she has heretofore been beld in the highest esteem. It is true ber opening pieces were not very well chosen, but that was nothing to urge against those of her second wesk. Her next visit to Chicago should be celebrated with a new piece, and let us hope she will be welcomed with more baimy akies, and a thermometer ranging above zero. ‘What will be the effect of the weather upon Charlotte Cushman’s enzagement is anoi qnestion. She opens to-worrow, and will re~ main for two weeks, after which she mil be sean in public in the West no more. The part in which she opens is her famous role of Afeg Mer- rilies, which will be played every night, and at the Saturday matinee, this week. Next week will be devotea to Lady Afacbeth and Queen Katherine. Owing to the brevity of her engage- ment she has consented to give tvo Wednesday matinees, upon which occasions the delightful comedy ‘Simpson & Co.” will be given, with Miss Cushman as Mfrs. Simpson, and Mr. Mc- Vicker as Afr, Simpson. The following letter from Miss Cashman will probably throw a new ight upon s very unpleasant bject : To the Editor af The Chicago Tribune : Catoaso, Feb, 12.—It having been reported ta me that various invidious and Seroentery Temarks con- cerning my lastappearance in Now York have been going the raunds of is avers. seosh.f wist ie due to my own salf-respect and int juceg m9 make the following plain statement; At the time I entered inta an engsgement with Messrs. Jarrett &s Palmer, cf New York, to act at their theatre in October Jagt, nothing was further from my wish and intention than the announcement of a farewell to the stage, DOF was there any auch stipulation in my engagement, No one could have been moro astonished than I was, when I arrived in New York to commence thal engagement, to find the announcement of my “farewell,” and matters cancerning it, in such g state of forwardness that it seemed in vain to remonstrate, and I was a tosubmitto what I did not desire nor intend. tho: at ea perfectly true that I had made upmy mind to rolire from the stage, Thad friends elsewhere as woll as in New York to whom I wished to ssy fare well, J had alresdy then made the engagements which Iam now seeking to fulfill in the different cities of the Union, and I therefore found myself placed by the managers in the embarrassing position of either diaap- pointing my public elsowhere ar gtultifying myself. X folly intended, before my engagement came to closa in New York, to make exp ‘ion there, but the gracious public entered go heartily and kindly into tha sche the managers, the affair assumed such pro portions, and blossomed out into such a ratlone bad compliment to me, that all minor considerations hed to give way, ‘and I could not by ono Patngla “aote of ‘aissond the hartiony of a ation of which, however ina ‘the a heartfelt character cauld not be mistaken. Sinca then Thaye not acted. althougu I have, yp pesred, as I announced I would, at the reading-dea Before making ry reappearance on the stage in ful- fillment of my engsge.uents, I haye been made to foel that I owed 1t to myself and the public to make this explanation, that thers might be no ‘misjudgment of motives, but that I might Ge trusted aa siinply wishing to say farewell to all my friends, in Boston as wall 38 in Philadelphia, in Chicago as well sa New York, in Baitimore aa‘well ag St. Louix, Regretting that I should be forced to fepl myself called upon, not hropgh my own fault, te make an spolagy for wala appearing before my friends in various citfes have engagements pending, 1 remsin respectfully your, CuaRLorry *: THE ACADEMY OF ¥USIC. ‘The present wogk will be notable for the s4- vent after several yeara’ absence of of the greatest actrosses af the day, ime. Janguechek, ‘whose brief engagament at the Acsdemy of Muc sio will give the public an opportunity to seg her in some of her mora notable characters. }t is not necessary to eulogize this remarkable woman: in advance. The reader is ag familigr with bor name as with that of any tragedisnne in the world. - Since she played last tn Chicago st Mo- Vicker’s Theatre, she ig éaid to have perfected, her English. She is the only artist who is worthy toagsume Charlotte Cushman’s place on the American stage. It is unfortunate that her eo- gagement is confined to one brief week, {ar pecepsitaied @ chaoge af bill roxy night; but theatre-goera will have an oppor- tunity of comparing her with Mies Cushmaa daring the present week. The programme ao- nounces “ Chesney Wola” for Monday night; *Deborah,” her version of ‘*Leah the, For. saken,” Tuesday ; “The Earl of Essex" Wednes- day; '“Mary ‘Stuart ‘Chuteday; |“ Chesney Wold” Friday; ‘Mary Stuart" ‘and ‘‘ Come Here” Saturday afteroooo; and “Macbeth” Saturday. pight. Mme. Janauscbek brings het own company with her, composed of artists who are more or legs well known to Chicago. They are Afessra. George D. Chaplin, Taylor, Ashton, A, D. Bradlev (formerly"at the Museum), Sefton, Frye, W. . Shine, Shirley Smith, B. We Wallove; Miss Minnie Mook, Aliss Kate Flotchet (formerly of the Academy of Music), Mrs. Pree ton, Miss May Montello (formerly of McVicker’s) Mrs. Ashton, Miss Lacelies, Migs Armitage, eu “ Littie “Dorritt.” “A matinee ‘will’ be given Wednesday by the Academy company. HOOLEY’S THEATER. The past week st Hooley’s has not been te markable for anything in particular excopt Miss Hawthorne's benefit Monday and absence aince ‘Thuraday. ‘ Dians” was played Monday, Taes- day, and Wednesday nighta, and “Men of the Day” the remainder of the week. Miss Doyle was placed ina very awkward position, snd it must be admitted that ahe appeared ta no gress advantage. Mr. Oranehas been working bard’ to retain the good will of the public toward the: house, and if -eargeas and intalligs endegyac art ens