MUSIC.

Dominion, Volume 4, Issue 1073, 11 March 1911, Page 9

MUSIC.

(By Tiiedle Clef.) Dolores. The next musical event of importance is the appearance hero of Dolores, of ballad singers the pearl. Dolores is one of the. few artists who make a deep appeal without any superficial aids or cireus-liko booming. She is just a serene highness of song representing that sweet, cultured, reposeful sane type of woman artist, who is rare indeed in these days of hobbled intellects, and harem-scarein "i'ip-I-adcly-I-Ay" rages. Whilst her singing coinpels adulation, her personality wins lovo. Only this week madamo was serenaded at Grey mouth by the Licdertai'ci. i\ T ow tho Grcymoutli Liedertafel is not exactly a Sheffield Choir, but it is an earnest littlo body of musiclovers, and their act was surely a graceful one. Madame, sings at tho Opera House 011 March 20, 21, and 23. Mr. John Prouso will lend his baritone aid to the recitals.

Humpertlinck's Big Success. Operas that have survived are those which mako a deep appeal to our emotions. "Konigskinder" is emotional, and that is why it will live. On this point-, Leonard Liobling says, in tho "Musical Courier"

Eumperdiiiek need never fear' the deep damnation of being called academic, for there is too much Wagner colour in his music for that, and at times it reflects such poignant poesy that the tonal utterance clearly is the result of elemental emotion. Such moments are the introductory - song of tho Goose Girl, her very lovely refrain, "How Beautiful Am" I," when she gazes at her reflection in tho well, tho love music accompanying the young pair's plighting of their troth, the singing of tho children —notably the little girl's "0 Spielniaim" appeal in act 11L all of tlie Goose Girl's music in act 111, and tho Spielniaun's lament just before tho finalo of the opera. Any one who could sit calmly through all those episodes and remain quite nnmoved comes close to being lit for. Shakespeare's treasons, stratagems, and spoils—to say nothing of "Salome" and "Elcktra." . . . Humperdinck, in the sad episode of starvation,, pain, and ecstatic reunion in death, catches the true \Yagi\er trick of making the same melodies that sprang out of blissful exaltation do service in depicting the most woful despair. It all is a matter of colour, accent, and rhythmic application. There is no gainsaying the fact that the dance of tho Girl, the delirious dreams, and the duet following tho eating of tho poisoned bread, and the affecting epilogue of tho Spielmann moved tho awlienco to tears and kept, them in lachrymose unsettlemenfc until the fall of the final curtain.

Nothing more sincerely touching has been written in all opera than the pages with which Humncrdinek leads up to the climax of tlie Siiielmaun's grief, and that gripping tliird act is bound fo insure the listing success of "Koiiiuskinder," if wise changes lie made in the opening half of the middle act.

"Tlie Ar! of Lovo."

Fritz Volbach's new opera, "The Art of Love," seems tn have made a groat success in Dnsseldorf. The title is taken from the Latin work of Ovid. Niccnlo, a professor, loves Ginlietta, but she prefers Lorenzo, who becomes one of the professors students, and is sot to study the "Ars Amatoria." The young lovers meet in tlm professor's garden, but are discovered when some of the students serenade him. lie w isiies to part the pair, but Lorow.o oxnlains that; ho is studying "the art of love," and the students insist upon his being allowed to continue (ho agreeable course. The music, light in style, is called melodious and characteristic.~ "Ktude."