The San Francisco Call. Newspaper, January 7, 1906, Page 23

THE SAN ERANCISC v EATT,. St VDAY JANUARY.. was Miss Gard nd Ju- vs now Warren's Pro- whom | WEEK’S O of her| Miss | nond had had $30 offered to her for her Take it? She, Miss Gardner. c any price—th not to it—it et fre “Man 1ed and Super- deliciou: ppose.” sh hat people -but 1 when an and in “The Mus a e Golden Wi Blan Miss Gardner would unt he dominates r thought ¥ Miss from her Mar- old of them becoming was that way I *should soon then and ittsbur tha sup- ar a woman s Bless her! stage in off into been it was. Bus the Mr. ¥ M she me io not succead the prettiest 1 of ever Lovelace, by Sir Henry that falled almost ,co- it was really most charm- risitely acted by othern I don't dges of pla the beautiful line: r think about wheth: people. I guess it takes business man to know ry and ne 1 the 2l of the best. Every Sunds = ner and of other girls used to go t the Metropolitan y night con- the great Seidl directing. w I used to joy and suffer with it!” ess cried. “I've been since to »f concerts in the best of seats, those gall ncerts! laughing Rl A FFERINGS AT THE THEATERS ad in night ft her, Large interest attaches to Miss Nance | | O'Neil's play of the week, new here, and | written, it is said, expressly for the act | ress, the udith of Bethulia,” a drama lin blank verse, by Thomas Bailey Al- { drich. In Boston Miss O'Neil won a not able success in the name role, the pla If also being lavishly commended. A verb” production is promised, and if anything like the truly splendid cbeth” of this last week no more ! need be asked To-night Miss O’Neil will be seen for the “The Jewe: Next week, gagement, the actress will be seen in ’s *“Mariana,” introduced here Margaret Anglin. time in oles. { 1ast } And more Shakespeare this week, inter- estingly ““The Merchant of Venice,” third | of the tribe to be given this season, to be presented by I.ouis James and his company at the Columbia Theater. Strict- Iy “legitimate” is the whole bill, the pro- gramme to include “Richelien,” to be given on Monday, Thursday and Saturday nights; on “The Merchant of Venice,” ith e Plao ss Gardner’s | told are | rticular delight she told ving with Francis ver have had such geod times| seats at those | | man I edman, Harry C. Barton, C. N. Stark, |at one of her! the last of her | clo GAFLYER “*Horo By 7 Bavses R i, o o PRAISE IN SAN FRANCISCO IN CTRESS WHO MADE A BIG HIT IN LOS THE ROLE O ALVING IN IBS S IN “WHEN WE W “GHOSTS” AND WHO HAS WON SRE TWENTY-ONE." i J‘ i Al - Wednesday and Friday nights, and “In- gomar” at the Saturday matinee. There will be only eight performances given by Mr, James and his company, the en: gagement being limited to one week. Mr, James is perhaps most famous in the title role of “Virginius,” the presen- tation of which bids fair to arouse an extraordinary attention, the play having not been seen here for very man ars. ‘Richelieu” is always a favorite, and James in the role of the crafty Cardinal |is al powerful and interesting. His | support includes Miss Aphie James, Nor- Hackett, Arthur Young, Charles | W. L. Thorne and Milton Nobles Jr. 7 Te | At the Colmbla Theater to-nignt the Arthur Becker Lustspiel Ensemble will make its appearance in the Blumenthal and Kadelburg comedy, “Zwel Wappen,” or as it is known to the English stage, “The Two Escutcheons.” It is as popu- lar in the German as in the English, and will certainly be a big drawing card when played by such clever people as compose the ensemble. Among the members of the cast are Richard Schuberling, Bmil Fritech, Johann Strauss, Carl Weiss, ine Lafontaine Neckhaus. Seats are cents, 50 cents and 25 cents. . e Quiller,” one of his big hits. George Kunkel will assume the same role, and will be ably a ted by the valiant Tivoli crew, in- cluding Barron Berthald, Arthur Cun- ningham, Teddy Webb, Helena Frederick, Cora Tracy and Gertrude Zimmer. #rTen The Alcazar revives this week “The Cowboy and the Lady,” always a favor- ite, and will shortly present for the first time here Barrie's comedy, “The Ad- mirable Crichton.” . . e Edna Archer Crawford Is going to see what she can do with “Camille’” this week the Central. Miss Nethersole and | Bernhardt give us theirs later. | | i [ . . “The Two Orphans,” handsomely re- vived, will be the attraction at the Al- hambra this week. The Mandolin Club will add to the gayety of the garden scene. The Majestic will revive “If .I Were King” this week, with Franklyn Under- wood and Amella Gardner in the principal roles. €76 % The ““Dreamland Burlesquers' will be at Otto Rauchfuss, Emma Duden and Jo- | the Orpheum this week. The Five Piroscopes are stars of the Orpheum bill this afternoon that is to be The Tivolt offers for the first time in |new throughout, except for Edward Da-| San Francisco the long-delayed ‘‘Foxy | vis in “The Unmasking.” Le Brun's Eng- | * in which Jerome Sykes made /lish Grand Overa Trio will offer an act w hark ye! 1o who has been reared e skies with you, and e breezes with you, and loved that wonderful tu land by the men are born to paint. h M. Raphael, r years, having the master on the hill, F. G. Pia their ways to g of se fc thews r fruitful vears in Eu- has worked away amethyst flicker of i on, over to Ger- Holland to work. to theme, he sees it seizes his char- canva tremen- the is upon him, background he forms take A warm-blooded man adow, wearing a blue tcoat and trou- a great Dutch great picture of as set the painters | figures as | “The Town Crier,” | while the background reveals a dull Dutch interior—a wide-open fireplace, | with a- slow-witted woman standing in | its shadow, unmoved by the enthusiasm of the children grouped about the ““Town | Crier,” with his wondrous proclamation. And the children—I have never seen so marvelous a group of them—and I doubt | if you have. There's a tall, spirituelle blonde, dainty in her flowered frock, her bonny waist encircled by a bit of red rib- bon, her face sweet and pure as a violet. Then there’s the little girl in red, her wooden dolly tucked under her arm in unmotherly fashion, her little tummy ris- ing fat under her little frock, a most wonderful pose of a bashful and wonder- Ing little maid. Cut from the canvas, this | little maid in red would make a beautiful picture in itself. The fat, expressionless hands of babyhood are consistently molded, in sharp contrast to the hands of | the lad behind her. Holding a cat in his arms, this lad is a study in boyish glee. | What an inexhaustible supply of spirit and mischief in those eyes! What a sweep | of antmal health in those cheeks! | Ana then the boy behind him, a tin | whistle - in hand, is yet another type. Mischievous, plotting, he eyes the “Town Crier” curiously. As for the whistle, that grows out of the depths of the canvas as you study it, even as does the stand in | the foreground. | No such picture has fallen under my gaze in many moons, and there are those | whose opinions are far worthier than other figures laid in, | mine who proclaim it the best picture | geoisie—is the ever done by a San Franciscan—and that's something. Of that, you may decide for yourself. The canvas, that for g week was hung in the Girls’ Club on gevenlh street, is now at the Bohemian Club, whence it was moved by order of Raphael Weill. Therefore, good friends, lose not a | day before feasting your eyes upon this wonderful thing—the greatest pic- ture, says Mr. Weill, that has yet come to us from a San Franciscan. And here’s to him—this lad who thus brings honors to us with his virile brush. And let us be frank in our pradises of what is unquestionably a stupendous plece of art, a marvel in life, in color, in composition, in spirit and in that divinest thing, individuality. Is there not promise in his name? . . . Among the stunning pictiires sold by Mr. Junior during his recent trip Rast was “The Stage-Coach,” by H. W. Han- sen, bought by a Pittsburg man, who has ordered a companion piece. There's something in these Hansen pictures that fascinates lovers of the wild. Kastern folk, whose limitations of hab- itat beget a longing for the illimitable space of the plains. This Hansen gets in all his late canvases. P e Quite the biggest thing ahead in the line of art study—art for the bour- It feeds the imagination of these | | “The Dresden Antonie Stolle, under the management of Will Greenbaum, who will bring to us poor devils wlo have never been abroad presentations of the art treas- ures of the Old World. Fraulein Stolle comes to_us with splendid press notices from New York and Boston, where she presented her colored photographs of the great gal- leries of the world to discriminating audiences. Now, it jsn’t really our fault—we4vho have never been abroad—and it's rather hard upon us that we are denied the privilege of even a running knowledge of the themes and schools and treat- ments of famous masters, And it is this educational work that the artist- lecturer seeks to accomplish during her course of lectures at Lyric Hall, which are as follows—not one of which would I miss, nor should you, if you love things beautif night, Janvary §—+“Rome, the Eternal City, and Her Art Treas- ures”; Thursday night, January 11—"A Visit to Florence, the Cradle -of the Saturday ~matinee, Her At Tuesduy night, January 16— Art Gallery and Its Treasures”; Thursday night, January 13 saris: Historic Versailles and the Louvre, the Famous Arts”; Saturday matinee, January 20—“Paris: The Pan- theon, Representing Modern Mural Painters of France; the Luxembourg coming of Fraulein | and Modern Oil Painting,” % | JOSEPH RAPHAEL'S GREAT PICTURE —BY LAURA BRIDE POWERS. | | { | ! | — from “Il Trovatore,” and Lewis McCord in “Her Last Rehearsal”; Mareena, Ne- varo and Mareena, direct from the Winter Garden, Berlin, are others. S e Claire and Maynard, Frank Ely, the Mardo Trio, Nellle Montgomery and Bothwell Browne’s Gaiety Girls are stars at the Chutes this week—chuting stars. NIELSEN TO SING THIS AFTERNOON There will be many glad of the chance to hear Alice Nielsen again, this after- | noon, particularly glad to hear her “Voi | | zinl’s for the glittering comparison. | little of the Gilda part Miss Nielsen will che Sapete,” particularly glad again to hear her “Ah Fors e Lui"—with Tetraz- A also sing, the quartet from *“Rigoletto” being on the programme, Signors Pratti and Fratodi, and Signorina Colombati, the other singers. Signor Pratti has the exquisite tenor solo—and it is easy prophecy that he will sing It exquisitely, “Una Furtiva La- grima” from “L’Elisir d’Amore,” one of Caruso’s most famed achievements. Also with Signorina Colombati, who makes her d the Nosic 3l D53, ancrir PARTINGTO local debut to-day, Signor Pratti will sing the Manrico and Azucena duet from “II Trovatore.” An orchestra of forty will accompany the, singers under the direction of Signor Jose Van den Berg, and will also be heard in orchestral Aumbers. | Miss Nielsen's success here has been of | the most satisfying order, and with fhis | afternoon's sp.endid opportunities she shoud largely add to it. Her Mozart singing in particular was commended in | London, and the delicacy and purity of her work in la we “Don Pasquale” certainiy promise much for her “Voi che Sapete.” Signor Pratii’s soio may be awaited with equal certainty of satisfac- tion, the aria itself one of the most beau- tiful in the range of opera. The concert altogether promises most | interestingly. S Even in that desirable day when the Bo- hemian C.ub shali do for local music what it is destined to do, the following plans of the New Music Society of America, | formed the other day, will be of distin- guished interest to the local composers. | They are particularly so now. The Public | Jinks of the Bohemian Club is at present the local Beethoven's only opportunity to | be heard, and that comes but once a | year. Professor Wolle, however, in the forthcoming symphony series at Berkeley, may have something important to say in the connection. In the meantime the’| three concerts yearly purposed to be given | by the New.Music Society offer most val- uable opportunity to the composer. The interpreting orchestra has an excellent | rcputation, the conductor likewise, and | for @ rew years yet New York will pro- | vide the most useful audiences. | ‘This is the preliminary announcement | of the society’s in jons and desires: 'As some Indication of the wealth of American orchestral compesitions that maz be drawn upon,” says the circular, “mention may be made of the | following works, a number of which have | never Georg Chadwick—Ove: lpomene’; overture, ‘Thalia.’ k S. Converse Symphonle of Pan’; symphonic Narrativ rture, Fred- poem, | poem, | overture, | Arthur Curry — Sym- | phonic poem. Charles Elander—Over- ture. Arthur ~ Farwell — Fanta. ‘Dawn’; two tone pictures, after ‘Pas- | tels in Pro ‘Symbolic Study,’ after Whitman; ‘Love Song’ from Suite. Arthur Foote—Suite in D Minor; sym- phonic prologue, ‘Francesca da Rimini'; overture, ‘In the Mountains,’ Louis A. von Gaertner—Tone poem, ‘Macbeth’; symphonic poem, ‘Il Penseroso’; phonic poem, ‘The Gods of Greece. Henry F. Gilbert—Symphonic poem | after Maeterlinck’s ‘The Seven Daugh- | ters of Orlamonde’; two episodes— ‘Legend,’” ‘Negro Episode’; ‘Salammbo’s Invocation,’ for soprano and orchestra. Frederick Grant Gleason—Symphoni poem, ‘Edris’; symphonic poem. ‘The | Song of Life’ Rubin Goldmark—Over- ture, ‘Hiawatha,’ theme and variations Rudoiph Gott—Overture to ‘Camille.’ | Henry K. Hadley—Symphony, ‘Youth and Life’; symphony, ‘The Seasons. Edward Burlingame Hill—Overture. Henry Holden Huss—Rhapsody for piane and orchestra. Edgar Stillman Kelley—Suite, ‘Aladal Ernest R. Kroeger—Symphony; overture, ‘Sar- danapalus. = Benjamin Lambord — A Symphonic Overture; two ballads for tenor and orchestra. Harvey W. Loomis—Intermezzo from ‘The Trageédy of Death’ Edward MacDowell—Sym- | phonic poem, ‘Lancelot and Elaine symphonic studies, ‘Hamlet and Ophelia’; ‘Indian Suite’; Suite (opus 42); ‘Two Fragments,’ after the ‘Song of Roland’ W. J. MecCoy—Overture, from ‘The Hamadryads’ Arne Old- berg—Symphony No. 1, F major; Sym- phony No. 2, in F minor; overture, ‘Paolo and Francesca’ variations. John Knowles Paine — Symphony, ‘Spring’; symphonic poem, ‘The Tem- pest’; symphonic poem, ‘An Island Fan- tasy’ Horatlo W. Parker—Overture in E flat; overture, ‘Regulus’; Symphony in C minor; ‘A Northern Ballad.” Henry Schoenfeld—Overture, ‘In the Sunny South’; ‘Rural Symphony." Harry Rowe Shelley—Two symphonies; symphonic poem, ‘The Crusaders’; dramatic over- ture, ‘Francesca da Riminl’ Arthur Shepherd — ‘Ouverture Joyeuse.'! Tem- pleton Strong—Symphony, ‘Sintram’ symphonic poem., dine.’ Frank Van der Stucken — Symphonic prologue, “William Ratcliffe’; symphonic prologue, ‘Pax Triumphans’; prelude to the opera ‘Vlasda.’ Arthur Whiting—Fantasia for piano and orchestra. “An organization to be known as the New Music Society of America has been formed in New York City with the object of creating conditions fa- varable for the artistic activity of the American composer, and of promoting performances of serious new works of native origin. “The New Music Society of America has invited the Russian Symphony So- clety to interpret for it, through the medium of its orchestra and its con- ductor, Modest Altschuler, the compo- sitions to be performed. The Russian Symphony Soclety, expressing appre- ciation of the American public’s sup- port of its concerts of Russian musie, has declared its readiness to co-oper- ate with the New Music Society of America by extending the services of its orchestra and conductor for the avyy, =X °© < WALS | be spared | ances. | chairman of the score sake of furthering the best of American music. “Although the chief object of the so~ ciety will be the production of inter- esting and important novelties by na- tive composers, the opportunity pre- sented by the co-operation of the Rus- sian Symphony Orchestra will be im- proved by the performance of Ameri~ can compositions that have already won recognition as of conspicuous ar- tistic value. “The unique nature of the oppor- tunity offered to American composers by this arrangement needs no em- phasis. No similar enterprise in Amer- ica has ever before enjoyed the pe- culiar privileges which will be con- terred upon the society by its allianc with an orchestra and conductor of es- tablished reputation, ability and ex- perience. The works selected for per- formance are to receive every attention necessary to insure their most effective presentation; numerous rebearsals will be heid, and no trouble or thought will in preparing the perform- interests “The soclety belleves that conditions in the present American musical world, so far as they govern native compositions, are hostile to the nor- mal development of a vigorous creative | art, and that until the situation be bet- tered and American works obtain a just representation ‘in our concert rooms there is need of the activi of such am organization as the Music Soclety of America. “Many thousands of dollars are spent annually for the education of Ameri- can musicians at home and abroad, yet once their education complete and they are fitted to undertake ative work they find tually without oppor their music perfor: themselv unity for d. aring exists already a large and increasing fund of American compositions of a high or- der of merit which are condemned to remain unheard un s some nized | effort be made to bring th. before the fublic. “In the course of the p: wson | the society will give three concerts, with the aid of th ssian Symphony Orchestra, at Carnegie Hall, New York, prior to May 1, the precise dates to be announced later. The soci will be | glad to receive o (which, for the present, only class of works p American compc rs for as to their availability ance. Selections from these works will be made by the s sisting of the follow critics: Modest Alt Hughes, N. Clifford Gllman. “Scores should be addresse: rence Gilman, 227 treet, New York Ci ‘Communicatic garding the soclety s to the secretary, West End avenue, ) —— DRAMATIC PAPERS IN HOLIDAY FORM The Dramatic Mirror holiday is one of the indispensables of the seasc It Is three times the size of the number n. sular issue, crammed with good things, most handsomely illustrated, and the usual modest ten cents. Perhaps as in ting as any feature of the magazine a full page pictures of some favorite ers in their most famous roles Richard Mansfield, Maude Ac Marlowe, E. H. Sothern Then Henry Arthur Jones erally at the Willard has thought the ““Art of Acting;'" Richard Ma talk on the drama given at { sity of California is reprinted don player folk are clever by Kate Masterson, the artic ively illustrated; some dramat vorites, chiefly Mrs. Jordan a fascinating Nell Gwynne, are rebio- graphed in an interesting way the Zaneigs, whose extraordinary telepathic exhibition at the Orpheum made such sensation here a year or so ago an article on the Indian fakirs rical Mobs™ are illustrated wi L and pen; Harry Houdin has a capital articie on vaudeville in foreign lands and how to do it: “The Convention of the Proscenium Steps,” by W Lawrence, J has besides its attractive subjedt matter some uniquely interesting illustrations. There are hundreds of other pictured players, scores of minor articles, and the usual issue of the Mirror in addition to them. Ten cents! . The holiday number of the New York Dramatic News is also to hand, with its many handsome illustrations and much interesting matter. “The Old and New School of Acting” is discussed by Fred W. Schrader: James O'Donnei. Bennett has interesting things to say of Ma fleld’s “Don Carlos;” E. S. Willard writes of “Dramatic Art:" R. F. Pritchard has a useful and Hvely paper on “The Press Agents’ Work:" Mary Shaw defends “Ibsem and Ibsenism,” and there is a charming poem by E. H. Sothern that he calls “Ideals.” The pictures are par- ticularly handsome and elaborate. e — “THE STAGE COACH,” ONE OF H. /IN THE BAST. W. HANSEN'S PAINTINGS TAKEN A PITTSBURG MILLIONAIRE. THIS PAINTING WAS ONE OF FIVE EAST BY FREDERIC “WILD WEST' CANVASES THAT WERE LEFT JUNIOR AND SOLD TO