ART PROGRESS IN THE UNITED STATES.
BY HENRY TYRRELL.

IN the fine arts representation at the Panama-Pacific International Exposition, San Francisco, February 20 to December 4, 1915, is realized the fruition of that practical and Nation-wide artistic revival which, notably stimulated by the intervening World's Fairs of Chicago and St. Louis, may be said to date specifically from the Centennial Exposition at Philadelphia in 1876. Whatever the effect of European war upon art affairs in general, and upon art's commercial relations in particular, it cannot be doubted that native art as well as native industry is in a way to reap material, permanent beneft. A large share of the $200,000,000 annually spent by American tourists in Europe in former years will now find its way to the Pacific coast; and hundreds of American artists who hitherto have studied, produced, exhibited and sold their works abroad will turn their energies homeward. The activities of the artists, together with the interests of dealers and the attention of the entire art-loving public, naturally converge in the unprecedented show at San Francisco. Evidence of this tendency is shown, for instance, in, the announcement by the Fine Arts Committee of the Carnegie Institute at Pittsburgh that the customary international exhibition will not be held there this Spring-a wise and patriotic course decided upon "in view of the fact that the Government will present an international exhibition of paintings at the Panama-Pacific Exposition."

The aggregation of vast exhibition palaces, courts, esplanades, and fountains covering the 635 acres of the reservation grounds beside the Golden Gate, where will be accommodated approximately 60,000 exhibitors representing between thirty and forty foreign nations in addition to our own States and Territories, forms in itself an architectural display of comprehensive variety and imposing magnificence. The main structures are of Roman travertine, with roofs of Pompeian red, domes of copper green, and portals whose columns are integral castings of red Sienna and Numidian marble imitation, or verde antique and bronze, enhanced by rich Italian blue and gold. Practically every American sculptor of note, besides scores of lesser artisans, have been employed for two years on the colossal groups, friezes, triumphal arches, façades, and decorations innumerable. Among the eminent mural painters covering wall spaces in the main halls are Edward Simmons, Frank du Mond, William L. Dodge, Robert Reid, Jules Guerin, Childe Hassam, and Frank Brangwyn.

The exposition's Department of the Graphic and Plastic Arts, under the chief direction of John E. D. Trask, is international in scope. Its period is, in the main, contemporary. The United States section will occupy more than half of the entire exhibit space in the Palace of Fine Arts; and the plans of the management-aided by advisory committees of artists covering every section of this country as well as Great Britain, under the chairmanships of John S. Sargent, John W. Alexander, Edmund C. Tarbell, Walter McEwen, Edward W. Redfield, Frank Duveneck, Paul W. Bartlett, and Eugen Neuhaus-give assurance that the showing of contemporaneous works by American artists will be the climax of the whole exhibition. In order that no ground may be left for the error of supposing that American art of to-day is without ancestry, there will be a chronological historical showing of American painting and sculpture covering the period from Colonial and Revolutionary times down to the years just preceding our own. And as this line of descent in our country has been swayed by the influence of foreign schools, the latter will be represented by comprehensive loan collections covering past periods of European art in addition to the works of to-day shown in the regular foreign sections of the exposition. These loan collections, besides illustrating the main Influences rom abroad upon the fine arts in America, will at the same time serve to indicate the vast wealth and comprehensiveness of public and private collections in the United States. Altogether, including the aforementioned historical and loan collections, there will be about 2,000 paintings in the United States section alone. Of pictures in all other media than oll, including prints, there will be perhaps 2,000 more. In addition to these, at least 1,000 works in sculpture will be shown. Not alone Europe and North America, but also South America and Asia will be summarized in their present-day activities. Wherever the strictly contemporaneous character of these exhibits is departed from it will be at the expense of possible participation in the competition for the awards to be bestowed by the international jury. No work produced prior to the year 1904 will be eligible for honors. It is possible, however, that the expenditure of the guarantee fund of $500,000 for the purchase of pictures to remain permanently in California may be less restricted in its range.

The Metropolitan Museum of New York City has at the present moment installed and on public view (without taking into account the Morgan collection, which remains as an indefinite loan) three recent gifts of exceptional magnitude, any one of which might suffice to give it distinction among the world's greatest treasure houses of art. These are (1) the Benjamin Altman collection of paintings and objects of art, bequeathed to the museum in 1913 and opened to the public last November in temporarily arranged galleries, formerly occupied by the Crosby Brown collection of musical instruments, pending completion of the new south wing which is in course of construction for their accommodation. The Altman paintings, as well as porcelains and bronzes, being of exceptional quality and distinction, the collection is to be kept an inviolable unit. Its money value is conservatively estimated at $15,000,000. It includes world-famous examples of Titian, Giorgione, Mantegna, Velasquez, Botticelll, Holbein, Memling, Franz Hals, Vermeer of Delft, and no less than thirteen Rembrandts. (2) The William Henry Riggs collection of arms and armor, also donated in 1913, and announced as ready for exhibition as THE WORLD ALMANAC for 1915 goes to press. Representing the life work of a wealthy and enthusiastic connoisseur, who entered this field over half a century ago when sources of acquisition of choice historical pieces of armor now closed forever were still available, the Riggs collection embraces a total of perhaps 2,500 objects, many of them unique and priceless-an assemblage of storied arms and armor that is admittedly without rival among the world's private collections. (3) The collection of Chinese and Japanese paintings which belonged to the late Charles Stewart Smith, now presented by his family to the museum, of which he was long a trustee. These rare and beautiful paintings, the fruits of expert selection in the Orient, number about sixty, all bearing important attributions. In addition there are 338 drawings by Japanese masters, including over 200 by Hokusai.

Development of the relation of art museums to the public schools is producing significant results. More than fifty of the six hundred important public museums in the United States are art museums. Practically all of these are actively engaged with work in the schools. In addition to this, a large majority of the public libraries have picture collections and loan exhibitions. The School Art League of New York City provides art instruction to 50,000 pupils in twenty-five schools. During the Summer of 1914 the Metropolitan Museum lent seventy-eight paintings to the Municipal Art Gallery of the Washington Irving High School; and this is the beginning of a movement for the establishment of branch museums in school buildings throughout the greater city.

Regarding commercial values as affected by the passing of older art buyers like Messrs. Morgan, Altman and Hearn, it is likely that, under normal conditions, readjustment rather than a general drop will result. The Altman treasures go to the museum, not to the market. Should the Morgan collections be sold, a possible 50 per cent. depreciation in value of antiques might be compensated by objects and pictures from the 18th century to date retaining or augmenting their prices.

ACTORS' FUND OF AMERICA.

President-Daniel Frohman. First Vice-President-Joseph R. Grismer. Second Vice-PresidentF. F. Mackay. Treasurer-William Harris. Secretary-E. D. Miner. Assistant Secretary-W. C. Austin.

The Actors' Fund was established in 1882 to provide assistance for disabled and needy members of the theatrical profession, and burial for such as leave no means therefor. The Actors' Fund Home, West New Brighton, Staten Island, under the direction of the Actors' Fund of America, was opened May 10, 1902. This is a home for aged and needy actors and actresses. There are 31 honorary members and 417 life members. Office, 1476 Broadway, New York City.

THE DRAMA SOCIETY.

It is an organization of art-loving playgoers on a basis that secures to regular members of the Society the best seats, for the best productions only, at the box-office price. There are no dues, and no initiation fees. The only condition imposed is that the members yearly attend ten productions found worthy of the intelligent playgoer, within the first month of the run. By insuring that intelligent plays receive immediate attendance and financial support, the society hopes to encourage the better forms of dramatic art.

President Mrs. E. R. Hewitt, New York City. Secretary-John Corbin, 131 East Fifteenth Street, New York City. Treasurer-Thomas W. Lamont, 23 Wall Street, New York City. Executive Committee-Mrs. August Belmont, Mrs. George G. Haven, Jr., Mrs. Philip Lydig. Mrs. Frederic B. Pratt, Mrs. W. K. Vanderbilt, Mrs. Egerton L. Winthrop, Jr., Mr. Walter P. Eaton, Mr. Robert P. Perkins and Dr. Percy R. Turnure.

THE ALFRED B. NOBEL PRIZES.

THE Swedish scientist, Alfred B.Nobel, the inventor of dynamite, died in 1896, bequeathing his fortune, estimated at $9,000,000, to the founding of a fund, the interest of which should yearly be distributed to those who had mostly contributed to the good of humanity." The interest is divided in five equal shares, given away. One to the person who in the domain of physics has made the most important discovery or invention, one to the person who has made the most important chemical discovery or invention, one to the person who has made the most important discovery in the domain of medicine or physiology, one to the person who in literature has provided the most excellent work of an idealistic tendency, and one to the person who has worked most or best for the fraternization of nations, and the abolition or reduction of standing armies, and the calling in aud propagating of peace congresses."

The prizes for physics and chemistry are awarded by the Swedish Academy of Science, that for physiological or medical work by the Caroline Institute (the faculty of medicine in Stockholm), that for literature by the Swedish Academy in Stockholm, and the peace prize is awarded by a committee of five persons, elected by the Norwegian Storthing.

In accordance with these statutes the awarders of the prizes (the four above named institutious) elect fifteen deputies for two consecutive years, the Academy of Science electing six, and the other prize awarders three each. These deputies elect for two consecutive years four members of the Board of Directors of the Nobel Institute, which board, exclusively consisting of Swedes, must reside in Stockholm. A fifth member, the President of the board, is nominated by the Government. The Board of Directors has in its care the funds of the festitution, and hands yearly over to the awarders of the prizes the amount to be given away. The value of each prize is on an average $40,000. The distribution of the prizes takes place every year on December 10, the anniversary of Mr. Nobel's death. Full infor mation can be obtained from Nobelstiftelsens Styrelse "(The Board of Directors of the Nobel Institute), Stockholm, Sweden.

Prizes for 1914 had not been awarded at time ALMANAC was printed. For list of awards prior to 1914, see 1914 ALMANAC.

It was officially announced in London on December 9, 1914, that the Parliamentary Nobel Committee had resolved not to sit in the current year for the distribution of the peace prize.

THE COMMISSION OF FINE ARTS.

Be it enacted by the Senate and House of Representatives of the United States of America in Comgress assembled, That a permanent Commission of Fine Arts is hereby created to be composed of seven well-qualified judges of the fine arts, who shall be appointed by the President, and shall serve for a period of four years each, and until their successors are appointed and qualified. The President shall have authority to fill all vacancies. It shall be the duty of such commission to advise upon the location of statues, fountains, and monuments in the public squares, streets, and parks in the District of Columbia, and upon the selection of models for statues, fountains, and monuments erected under the authority of the United States and upon the selection of artists for the execution of the same. It shall be the duty of the officers charged by law to determine such questions in each case to call for such advice. The foregoing provisions of this act shall not apply to the Capitol building of the United States and the building of the Library of Congress. The commission shall also advise generally upon questions of art when required to do so by the President, or by any committee of either House of Congress.

Sec. 2. That to meet the expenses made necessary by this act an expenditure of not exceeding ten thousand dollars a year is hereby authorized. Approved, May 17, 1910. Headquarters, 1729 New York Avenue N. W., Washington, D. C.

Chairman-Daniel C. French, New York City; Vice-Chairman-Frederick Law Olmsted, Brookline, Mass.: Thomas Hastings, New York City: Cass Gilbert, New York City: Charles Moore, Detroit, Mich.; Edwin H. Blashfield, New York City; Peirce Anderson, Chicago, Ill.; Secretary and Executive Officer-Col. Wm. W. Harts. U. S. A.

AMERICAN SCHOOL PEACE LEAGUE.

Organized in 1908 to promote through the schools and the educational public of America the interests of international justice and fraternity. Membership: All teachers in the schools of the country; students in secondary schools; normal schools, and colleges; persons otherwise enlisted in the general work of education may become members, without the payment of dues, by signifying their devotion to the purpose of the league.

President Randall J. Condon, Cincinnati, Ohio. Secretary-Mrs. Fannie Fern Andrews, 405 Marlborough Street, Boston, Mass. Treasurer-Miss Gertrude W. Lyndon (temporary), Town Hall, Brookline, Mass.

Music.

WHAT will be one of the most memorable years in the history of the Metropolitan Opera House opened November 16 with Verdi's "Ballo in Maschera" ("A Masked Ball"), making the first time that his work ever opened a season-that is, in this country. With war conditions abroad and European opera at a standstill, naturally all musical interest will be centred in this country's musical offerings, and especially the quality of those given at the Metropolitan Opera House. In fact, it is the only place in the world to-day where opera of the highest standard is given with artists of first rank. This opera house was dedicated by Henry E. Abbey away back in 1883, just thirtytwo years ago. "Faust" was the opera and Nilsson and Campanini the artists on that occasion. The second night was given over to the début of Sembrich in "Lucia." German opera was popular under the Damrosch directorship for six years, during which time "Tannhäuser" and "Lohengrin" were first introduced into the répertoire. In 1890 Italian opera was mounted by Stanton, and Alberto Franchetti's "Asrael" was brought out. Next came Abbey & Grau, who introduced Eames in "Romeo and Juliet," which was followed in 1893 by Calvé in "Carmen." Other artists followed-Melba in "Lucia" and Eames and the de Reszkes, until Conried presented Caruso in 1903 in "Rigoletto." Farrar made her début in "Romeo and Juliet" and Sembrich appeared with Caruso in "La Bohème." In 1906 Hammerstein came into the operatic field and produced excellent opera. Though successful from an artistic standpoint, he lost financially. In 1908 Gatti-Casazza appeared on the operatic horizon in New York and, beginning with "Aida" on the opening night of the season that year, has engineered the destinies of the Metropolitan Opera House ever since. There are several names added to the list of prominent singers for the current season-three sopranos, one mezzo-soprano, three tenors, two baritones and two bassos. Among the sopranos is Mme. Melanie Kurt, who for the past six years has been the dramatic soprano of the Royal Opera House in Berlin. Replacing Bella Alten is a German lyric soprano, Mme. Elisabeth Schumann, a native of Thüringen, who has a varied répertoire. Mabel Garrison, who possesses a pleasing colorature voice, is an American, having been born in Baltimore, where she studied at the Peabody Institute. The new mezzo-soprano, Mme. Raymonde Delaunnois, is a Belgian and claims Mons as her native city. She has been a popular singer in Germany for several years.

The particular Verdi opera which opened the season was brilliantly performed. Caruso, in his best voice, deserved the ovation which he received after his glorious singing of Riccardo; Emmy Destinn, as Amelia, added a new triumph to her long list, and Margarete Matzenauer was an effective Witch. In the first scene of the last act Amato brought forth a round of applause for his excellent performance of Renato, and Andrea de Segurola showed his ability as a great character artist in the rôle of Samuele. Frieda Hempel had the light part of the Page. Toscanini, in his usual masterful manner, conducted.

For its second offering the management brought forward Wagner's "Lohengrin," with a new principal, Arthur Middleton, an American with a voice of good quality, as the Herald. Mme. Gadski, as Elsa, did not come up to the standard she set in her former appearances in the same rôle. Mme. Ober was vocally satisfactory and her acting convincing in the part of Ortrud, and Urlus was a capital Lohengrin.

"Carmen" was again restored to the Metropolitan's répertoire, from which it had been absent for five years, on November 19. All concerned devoted much energy to its preparation. The American soprano, Geraldine Farrar, was the heroine of Bizet's work. There was considerable curiosity as to the manner in which the rôle would be acted by this artiste, owing to the achievements of her predecessors in the rôle. Miss Farrar added new laurels to her many successes, and was proclaimed as one of the best impersonators of the wayward Spanish girl. Caruso, who was the Don José of the last performance of the opera at this house, again assumed the rôle and gave an impressive portrayal. His singing was superb. Escamillo, as sung by Amato, was a delight, and Alda capably handled the character of Micaela. All the artists came in for a hearty welcome in the way of great applause. The scenes were picturesquely mounted; in fact, the whole performance was one of the most brilliant and musically excellent offerings ever heard here. To Mr. Toscanini should go the highest honors for the success of the opera's presentation, because of his artistic excellence in bringing out all the color, grace, vivacity and dramatic life of the score. Others who sang parts in this presentation were Lenora Sparkes, as Frasquita; Sophie Braslau, as Mercedes; Albert Reiss, as Dancairo; Angelo Bada, as Remendado: Léon Rothier, as Zuñiga, and Désiré Defrère, as Morales.

"Der Rosenkavalier" was mounted November 20. It had a familiar cast with the exception of Mme. Schumann, who appeared as Sophie, the intended bride of Baron Ochs, and disclosed a soprano voice clear in quality and agreeable in timbre. Besides, she is also prepossessing and should be a worthy addition to the list of artistes.

"The Magic Flute," by Mozart, commenced the second week's bill. Carl Braun gave a distinctive performance of Sarastro, and Frieda Hempel was an impressive Queen of the Night. Elisabeth Schumann made a good Papagena, though she hardly equalled the work done by Bella Alten in the same part. Tamino's music was sung by Jacques Urlus and Alfred Hertz conducted.

Parsifal," with Johannes Sembach in the principal part and Clarence Whitehill again as the Knight of the Grail, was heard on the afternoon of November 26. The former, a new German tenor, deeply impressed his audience. This singer has been appearing for several years in opera in Dresden, though he is only in his early thirties. Mme. Matzenauer was Kundry.

Ponchielli's "La Gioconda" was the bill on November 25, under the baton of Mr. Polacco. It was an enjoyable performance that had Emmy Destinn as La Gioconda, Margarete Ober as Laura, Caruso as Enzo and Amato as Barnaba,

The night of November 26 added "Traviata" to the current list of the Opera House, with Hempel as Dumas's Lady of the Cameilias.

"Carmen" was repeated November 27, with two changes in important parts-Bori, who made a delightful Micaela, and Clarence Whitehill as Escamillo. Mabel Garrison made her initial bow with the company as Frasquita.

One of the chief novelties which will be mounted, according to present plans, during the year is "Prince Igor," a work which was left unfinished by the composer, Borodine, and completed by Rimsky-Korsakoff and Glazounoff. The story of the opera is based on a Russian legend of the barbaric times of the twelfth century. Prince Igor makes war on the Khan of Polovets, and disregarding the unfavorable omen supposed to be represented by a total eclipse, is captured by the enemy." With him is Prince Vladimir. His city of Poultivle, which has fallen into disorder, is taken by the Polovets, and Prince Igor meanwhile is given a chance to escape. Vladimir, however, refuses to accompany him because he has fallen in love with Konchakovna, daughter of the Khan. Igor returns alone to his city and is there received with honors. Another new work to be heard is "Mme. Sans-Gêne," which is a version of Sardou's comedy set to music. Miss Farrar has been selected for the part of Mme. Sans-Gêne and Pasquale Amato will impersonate Napoleon. The third novelty, which will really be a revival, is Weber's "Euryanthe," first produced at Vienna in 1825. Beethoven's "Fidelio" will be mounted in January and will be conducted by Hertz, and "Il Trovatore," with entire new scenery, will follow in February, conducted by Toscanini. Franco Leoni's "L'Oracolo," a one-act

opera from Chester B. Fernald's "The Cat and the Cherub," a story of the Chinese quarter of San Francisco, is another work to be heard by New Yorkers this Winter for the first time.

CENTURY OPERA HOUSE.

The Century Opera House threw open its doors for the second season of grand opera on September 14 under the management of Sargent and Milton Aborn. At the end of their last season they promised more adequate and meritorious presentations of opera than hitherto. That they have kept their promise is evidenced by the improved quality of the performances given so far. To begin with, the seating capacity of the opera house was increased some 1,200 seats and the plan of giving performances changed. Instead of shifting the bill weekly, with principals exchanging first rôles with each other, the management arranged to alternate the performances so as to permit one complete set of principals to sing an opera for two weeks. Aside from this there is a new artistic director, Jacques Cofni, remembered for his able stage management at the Manhattan Opera House, and who has wonderfully improved the performances in the Century. Another welcome step forward is in the line of acquiring some good English translations of librettos in foreign languages. Among the newcomers in the company, Marcella Craft, who has had a Continental career extending over ten years, is an American, having been born in Indianapolis, Ind. She recently sppeared at the Opera Royal in Munich and previously sang in Mayence and Kiel. Miss Maude Sant fey, who was born in the Isle of Wight, created in English the rôles of Waltraute in "Die Götterdämmerung," and Fricka, both in Walküre" and "Das Rheingold," with the Beecham Opera Company at Covent Garden. Louis D'Angelo, who although an Italian by birth has been in this country since he was four years old. He made his début with Henry Savage's English production of Puccini's "The Girl of the Golden West." Augusta Lenska, born in Cape Colony, Is remembered for her Wagnerian rôles since her début as Ortrud in Erfurt, Saxony, several years ago. Graham Marr, a baritone, is wholly American taught. He sang for the Moody-Manners Company and assumed the title rôle of Mendelssohn's oratorio of "Elijah" in Liverpool. He made his first appearance in America at the Century in the title part of Rossini's masterpiece, "William Tell." Bettina Freeman, a dramatic soprano born in Boston, who made her initial bow with the Beecham Opera Company and afterward sang at Covent Garden and the Royal Court Theatre in London. Helen Stanley, to whom fell the honor of creating the rôle of Blanchefleur in Kienzl's "Kuhreigen" when that opera was accorded its American prémiere by the Chicago Grand Opera Company in Philadelphia two years ago. Miss Stanley, who is a Cincinnati girl, had returned to her native land after a successful career abroad. She first appeared in America in the characterization of Prince Charming in Massenet's "Cinderella." Ellen Castles, a young lyric soprano born in Australia of Irish parentage, who was heard as Musetts in La Bohème." Alexander Smallens, born in Russia, and who was with the Boston Opera Company. Elizabeth Campbell, Canadian contralto, who, as a member of the Century Company, made her début as Stephano the page in "Romeo and Juliet" at the opening of the second season, September 15. From a coal miner to a star in grand opera is the accomplishment that Hardy Williamson, the lyric tenor, has attained. Although known as the Welsh tenor, Mr. Williamson was born in England and is a native of Murton, Durham County. His natal city is the centre of a mining district and his first dollars were earned by strenuous labors several hundred feet beneath the earth's surface. The first two operas mounted were Gounod's "Romeo and Juliet," on September 14, and Bizet's "Carmen" on the following night. The proceeds of these performances were for the Red Cross War Relief Fund. Both English librettos were written by Algernon St. John Brenon, whose work bore evidence of his scholarly and musical abilities. The title parts were taken by Lois Ewell and Orville Harrold. Both won praise as Shakespeare's immortal lovers. Henry Weldon (Hughes), son of an American Admiral and a basso of wide reputation, shared in the honors of the evening by his splendid singing of the important music of Friar Laurence. This was his initial bow to a New York audience. He sang the same rôle at Hammerstein's London Opera House a few seasons ago. Then he was hailed as the best in the rôle sinee Pol Plançon, whose pupil he was. Another first appearance made at the Century on the opening night was that of Hardy Williamson, the tenor. In this performance of Gounod's work he took the minor part of Tybalt, Juliet's quarrelsome cousin. Elizabeth Campbell, also a new addition to the personnel of the company, was the Page, and Stella Riccardo was Gertrude, the Nurse. The other rôles were sung by Alfred Kaufman as Capulet, Frank Mansfield as Benvolio, Gilbert Wilson as the Duke, John Mercer as Paris and George Everett as Gregorio. The baton was in the hands of Mr. Jacchia. The orchestra was augmented by a number of musicians, chief among them being Hugo Riesenfeld, the former Hammerstein concert master. It showed vast improvement, as did the chorus newly trained by Josiah Zuro, another of the able Manhattan Opera House lieutenants, and which was almost entirely composed of American voices. The ballet is again under the direction of that finished artist, Luigi Albertieri. whose master, Enrico Cecchetti, founded the Russian ballets of the Czar.

The excellent presentation of Bizet's "Carmen" was in keeping with the initial effort. The orchestra, chorus and principals, as well as the staging, were uniformly at their best. Kathleen Howard and Morgan Kingston, two favorites of last year, were the Carmen and Don José respectively. Both artists sang better than formerly, though the acting of Miss Howard could be more convincing. Myrna Sharlow, whose voice is agreeable, sang the muste of Micaela, while Louis Kreidler triumphed in the Toreador Song of Escamillo. Others in the remaining parts were Alfred Kaufman, who effectively sang the Captain's part: George Shields, Alice Eversman, Elizabeth Campbell, Hardy Williamson and George Everett. Josiah Zuro made his bow as a Century conductor and deserved the highest praise for his excellent work.

For the fourth offering the Aborns brought out on September 29 Verdi's lyric drama, "La Trsviata" with Lois Ewell in the title part and Morgan Kingston as Alfred Germont. During the first fortnight of opera at this house 34.956 persons purchased tickets at the Century. The first week's attendance was 16,167, while that of the second week was 18,789. These figures show that opera in English at popular prices has met with favor with the public.

Rossini's William Tell," which was revived September 22, made a favorable impression on the audience. It is an opera in four acts. Words by Etienne Jouy, Hippolyte Bis and Armand Marast, taken from Schiller's drama. English version by Natalie Maclarren. While the first act went slowly. Lois Ewell and Orville Harrold fully made up for it in their rendering of the lovers' duet in the second act. The whole performance was excellent and the artists were in good voice. Hardy Williamson sang the Fisherman's air, Kaufman was Gessler, Louis Kreidler was William Tell and Kathleen Howard was Hedwiga.

The début of a singer new in this city and the revival of the popular "Tales of Hoffmann," by Offenbach, were the chief features of the Century Opera House on November 3. The débutante of the occasion was Miss Florence Macbeth, an American colorature soprano, who last season was a member of the Chicago company and who shared honors with Titta Ruffo, the great Italian baritone. when she sang Gilda to his Rigoletto in Chicago, Philadelphia and the cities visited by that organi zation. MISS Macbeth hails from the Middle West. She proved an admirable addition to the singers, in the part of the mechanical doll, and was warmly received. Bettina Freeman as Giulietta. and Lois Ewell as Antonia, were in splendid voice, while Kathleen Howard was Nicklaus, one of her best rôles. Louis Kreidler, in the triple rôle of the evil geniuses of Hoffmann, gave a good account of himself. Under the able conductorship of Josiah Zuro the chorus and orchestra were entirely

satisfactory. Alternating with this opera was "La Bohème," with Helen Stanley as Mimi, Morgan Kingston as Rudolph, Thomas Chalmers as Marcel, Henry Weldon as Colline and Louis d'Angelo as Schaunard. All the rôles were well handled and the opera was well mounted.

It may be recalled that the previous year's attempt at Wagnerian opera was a sad failure. However, the company retrieved itself on October 6 with an excellent performance of "Lohengrin." All the chief rôles were well sung and the orchestra, under Ernest Knoch, who made his first appearance at this house on this occasion, deserved warm praise. Bettina Freeman enunciated clearly and used her voice with discretion. Ortrud was not so capably handled by Augusta Lenska. The Lohengrin of Morgan Kingston was among the best performances that he had done so far.

Wolf-Ferrari's "The Jewels of the Madonna" was added to the list of operas October 20. Gustav Bergman was warmly received on his return to the company on this occasion. He gave a fine characterization of the devout blacksmith, Lois Ewell deserves high praise for her singing of the big song in Act II. and Louis Kreidler was in splendid voice throughout the entire performance.

The staging was artistically accomplished under the directorship of Jacques Coini, and Mr. Makalif and Mile. Rasch were delightful in their dance in the Camorrists' den.

The last week of the Fall season began November 10 with "Aida," an elaborate offering. The English libretto was well put together and understandable. Miss Ewell impressed her audience with her sympathetic and appealing performance. Mr. Kingston's Rhadames was a great improvement over his singing of the same part last year.

They

The Zuro Opera Company began a season of grand opera at the Grand Theatre in May. gave splendid performances of "Pagliacci" and "Cavalleria Rusticana" in the afternoon of May 10, and "Aida" in the evening. In the second named work Miss Baroness made her initial appearance with the company as Santuzza. Charlotte Lund, who had been singing in concert, was the Nedda in "Pagliacci," and A. Antola, an excellent baritone, delighted his audience by his splendid singing of the Prologue. "Aida" was well mounted. Miss Andreani, an eighteen-year-old prima donna, was Aida. Signor Cecotti ably sang the music of Rhadames, Emma Carell was Amneris and Alessandro Modesti sang Amonasro effectively. The others in the cast were Messrs. Anzeloni, Nemo and Giuliani and Miss Hays. Ignacio de Castillo conducted all three performances. On May 11 "Faust" was presented with P. Sinagra in the title part and Mme. Zavaschi as Marguerite. P. Bayron admirably handled the part of Mephistopheles and Antola was the Valentine.) Alice Gentle, who appeared several years ago at the Manhattan Opera House, sang the music of Azucena in "Il Trovatore." She also was heard as the Page in "The Huguenots." Miss Gentle gave an excellent characterization of the name part in "Carmen," and her singing as well as acting was admirable. Other works mounted by this company were "Thais," "The Tales of Hoffmann," "Lucia" and "Traviata." Mr. Andreas Dippel's plan to give opera-comique in New York City met with favor when he presented his first offering, "The Lilac Domino," at the Forty-fourth Street Theatre, October 19. Mr. Dippel intends to give New York a season of opera-comique such as has never been equalled in Europe or America. "The Lilac Domino" was composed by Charles Cuvillier, who was called to the front for France and was with the forces near Verdun; book and lyrics are by Emerich von Gatti and Bela Zenbach; English adaptation by Harry B. Smith; English lyrics by Robert B. Smith. The book, which really has merit, concerns loss at cards of the fortunes of three young men who decided that the only way out of the diety was that one of the number marry an heiress, the heiress hunter to be chosen by the result of a game of dice. Count Andre de St. Armand throws the high number. He falls in love at a masked ball with a girl who wears a lilac domino, Georgine, daughter of Vicomte de Brissac and wealthy, and whom he intends to marry according to his agreement with his friends. But Georgine, hearing of the dice game and believing that Andre only wants her for her money, dismisses him. though she herself is in love with him. His efforts to re-establish himself in her good graces furnish the love motif of the piece.

The scenes are laid in Nice during the carnival season. There is a pretty intermezzo depicting the life along the Riviera, and colored moving pictures show the carnival episodes while this piece is being played. Throughout the work are scattered twenty musical numbers, the principal one being a delightful waltz. This production introduced to New York several singers of unusual talent. Eleanor Painter, from the new Deutsches Opera House in Berlin, where she made her début as Madame Butterfly, and where she continued for two years, was born in Walkerville, Ia., just twenty-five years ago. Miss Painter was charming in the character of Georgine. Besides acting admirably, she has a voice of birdlike sweetness. Especially well rendered was the duet with the baritone in the second act, "What Is Done You Never Can Undo." Wilfrid Douthitt, who was chosen to take the part of the Count, is a splendid baritone, regarded in England, where he was born in 1888, as the successor to Santley. When the first performance of "Parsifal" was given in England Mr. Douthitt was the soloist, and he also enjoys the distinction of being the only male singer who ever appeared as the principal boy in pantomime at the Drury Lane Theatre, the part on all other occasions having been sung by a girl. Alternating with the principals mentioned are Mabel Riegelman, who has been singing with the Chicago Opera Company, and George Everett, late of the Boston Opera Company. Other members of the cast are the Metropolitan singer Jeanne Maubourg, a Danish artist of ability; Einar Linden and James Harrod, as alternate tenors; George Cutzon, René Dettling, as well as John E. Hazzard, Robert O'Connor and Harry Hermsen in comedy rôles.

Mr. Dippel's organization will remain at the Forty-fourth Street Theatre until the first of February, when it will move to the Century Opera House.

Here, in conjunction with the Pavlowa Ballet Company, "La Reginetta delle Rose" will be heard on Monday, Wednesday, Thursday and Saturday evenings and at Saturday matinées. Wednesday matinées and Friday nights are to be reserved for ballet performances by Mlle. Pavlowa and ber company.

Tuesday evenings Mr. Dippel plans to devote to revivals of old operettas, which will be repeated at Thursday matinées, when popular prices, 25c. to $1, will rule. The operettas to be revived will be selected from the following works: "Don Caesar," "Manon," "Mamselle Nitouche," "Erminie," Chimes of Normandy," Boccaccio," "Madame Angot." "The Beggar Student," "Gasperone,' "Giroflé-Girofla," "Fatinitza," "Gypsy Baron," "The Merry War," "A Night in Venice" and "The Queen's Lace Handkerchief."

Special subscriptions will be opened for these performances, and Mlle. Pavlowa and her ballet will also be given as a subscription series, and the programme will be changed at every performance. The American composer Horatio Parker, and the librettist Brian Hooker, duplicated their winning of the $10,000 prize for their opera "Mona" by being awarded a like amount for their opera "Fairyland," by the National Federation of Musical Clubs. This sum was offered for the best grand opera written in English. The production will be made in Los Angeles next Summer. "Madame Butterfly" ushered in the third week of the present season at the Metropolitan Opera House. Martinelli sang the music of Pinkerton and Geraldine Farrar was Cho-Cho-San. "Boris Godunoff" has become one of the firmly established works of the Metropolitan Company since its introduction two years ago. November 28 it was given for the first time in the present seaIt had a familiar cast with few exceptions. Miss Raymonde Delaunnois, the new mezzo-soprano, sang the music of the boy Theodore admirably. Mr. Toscanini conducted. The afternoon of December 5 was given over to the double bill, "Cavalleria Rusticana" and "Pagliacci." In the former opera Lucca Botta, who made a great success in "Oberon" in Colon last

son.