12
TO
Florence Fleming Noyes, Sharon,. Mass., Opens School for Development
4 - V.J
I v -,xsi "xx .
BT GERTRUDE STEVENSON.
(Copvright. 1913. by Gertrude Stevenson.)
BOSTON, Mass., July 26. (Special.)
Emerson said something- to the
fffect that if a man can preach
a better sermon, write a better book,
or make a better mousetrap than his
neighbor, though he build his house in
the woods, the world, will make a beat
en pathway to his ioor.
Something of the same worldly atti
tude may be the reason for the beaten
path from hte railroad station at, Sha
ron, Mass., to a certain little white cot
tage calTed "Studio House," where grlrls
from New York and Washington, Kan
sas City and Cleveland. Chicago and
any number of other big cities have
come to study the art of lyro-rhythmlo
expression with Florence Fleming
Noyes.
Lyro-rhythmlo expression?
Even so. You and X and Mrs.
O'Flaherty would call it classic danc
ing, but you and I and Mrs. O'Flaherty
must bow to the edict of the high
priestess ' of the colony and accept
"lyro-rhythmlo expression."
Lyro-rhythmic expression, according
to the fair expounder, is the art of ac
quiring rhythm. With rhythm one may
be in tune with the twitter of birds. In
sway with the soughing of the winds
in the trees, in accord with all nature,
in harmony with the musio of the
spheres and filled with the joy of liv
ing. Without it one is a mere clod of
earth, hampered by conventionality, re
stricted by contracted muscles and in
capable of the expression of the high
est ideals.
Tnnk "Sot Ew.
If you are a composer and. have
rhythm, your melodies will be sweeter.
If you are a writer, your ideas will be
more numerous and your thoughts flow
more freely. No matter what you do.
Thythm will make your work better
and your life more "fluid."
To acquire rhythm is no easy task.
Tt is as elusive as a fluff of thistle
down as intangible as the south wind.
You cannot see it, any more than you
can your soul your love or your honor,
but It is Just as vital and necessary -a
part of your happiness as they are.
Few things have rhythm, because
rhythm must not be confounded with
mere "time" only the heart and its
pulse, the dripping of water and the
falling snow and with hard work
and sincere effort the human body.
Florence Fleming Noyes Is "the
woman with the most beautiful right
arm in the world," according to that
grim magician in marble Rodin "the
woman with perfect poise," according
to that American sculptor, Cyrus Dal
lin. She it was who appeared as the
premiere danseuse in the suffrage
pageant at the Metropolitan in May
and was the leading spirit in the beau
tiful pantomime on the Treasury build
ing steps during the inaugural at
Washington. She is related to the
Seward Webbs and the W. H. Vander
bilts of New York City.
She out-Isadoras Isadora or out
Duncans Duncan, as you will.
What the impressionists are to
painting, she is to the dance.
She is a Cubist of movement even
a Futurist, in that she expresses the
spirit of things the symbol, rather
than the fact the emotion Greek
myths create in her rather than merely
pantomiming the story of the myth
itself.
Modern Pled Piper Is She.
Out under the trees on the beautiful
grounds around "Studio House," she is
teaching her gospel of the spirit of
things to a group of girls who fol
lowed her to her Summer place at
Sharon just as fascinatedly as the chil
dren trailed after the enchanting melo
dies of the Pied Piper. It is her aim to
spread this gospel, which Is, Indeed,
the ultimate thing in all art, to toe four
corners of the - world. She wants to
make the world realize beauty to cast
off its trappings of artificiality to ex
pand In a new realization of the beauty
of the human body and to develop that
body Into an instrument to express the
highest ideals of thinking and living
and Jjelng.
Just as the Greeks Idealized the body
and aimed to perfect It to express all
things, so Florence Fleming Noyes
would make Americans a race of
rhythmic, sentient people from which
would spring geniuses of painting and
sculpture anj music and all the arts.
"When we cultivate the sympathetic
nervous system through the right use
of rhythmic movement wo will be ca
pable of great things in creative art,'
declares Miss Noyes, "since all the
beauty which we feel and to which we
respond registers on the brain. No less
an authority than G. Stanley Hall, of
Clark TJTniversity, bears me out in this
theory and maintains that the cultiva
tion and appreciation of the beautiful
has a very definite scientific value In
the development of the brain and in
fiuences its output to an extent little
realized in this materialistic age."
To come suddenly upon this modern
Galatea in diaphanous classic garb, sur
rounded by veritable nymphs and dry
ads on the grassy slopes back of
"Studio House," makes one convinced
that one has been transported back
through the centuries to the time and
clime where Pan piped his immortal
lays and Diana, free-limbed and Joy
ous-spirnea, snot straight, swift ar
rows at fleeing game, or Hebe danced
her innocence, or Narcissus, "fair as
May, who in a deep, dark pool did
drown for love of light-loves fair and
gay."
"The garb," nays Miss Noyes, "Is
not so much to intimate the Greeks as
It is to give the body perfect freedom
of movement and expression. To at
tempt to express rhythmic emotions In
modern - fashionable attire - would be
SOCIETY GIRLS GO IN FOR LYRO-RYTHMIC EXPRESSION
J ..- - , x,
absurd. Just the moment one throws
aside ordinary clothing and puts on
this little costume one gets immedi
ately into . the atmosphere we want.
Not a muscle is bound or hampered,
not an articulation contracted. We are
at last natural and free .to, move and
act. and be as God and Nature intend
ed us to. It is absolutely surprising
how quickly a pupil becomes natural
and rhythmic under the influence of
the costume and the nearness to na
ture. "You see it isn't that We 'have so
much to learn to acquire rhythm. It
is a matter of laying aside all our stiff
necked Puritanism and forgetting the
artificialities which wrong training and
false Ideals have developed in all of
us. We must get back to child move
ments and animal rhythms to natural
gestures and free motion.
' Personality. Is Submerged.
"Children and animals are absolutely
tacking in self-consciousness. It is
that childlike , simplicity for which we
are striving, and while there is the
greatest opportunity for individuality
in lyro-rhythmic expression, there is
no room In it for personality. Drama
develops personality. This art sub
merges It. There is no reason why the
human body cannot be made as undu
lating as a serpent as capable of as
perfect rhythmic rotary movements as
the wasp as relaxed and as responsive
as a cat."
As the fair priestess of rhythm ex
plained, her nymphlike pupils were
floating rhythmically through the tree
shadows here a calm-eyed goddess
with heavy plaits of hair binding her
brow swaying to the musio of the
breeze rustling the leaves there a
mobile, bright-eyed Pan playing his
pipes as he wandered in and out of
the trees, now mournful and sad,
again bursting with Joy and life an
ecstatic vestal virgin or a mad, irre
sponsible bacchante whatever the
mood . inspired them to do or to cre
ate. Technique must ever be subser
vient to the creative Impulse accord-
ng to the preceptress of this newest
and most inexplicable of arts.
"To acquire rhythm one must cul
tivate one's second brain." explains
the lovely muse as she strikes signifi
cantly at that region of the anatomy
ordinarily cherished as the repository
of - one's favorite "eats" or the center
of indigestion as the case may be.
Below the breast and Just above the
waist are two distinct and separate
articulations, and others at either side.
The Greeks developed these and -that
accounts, for the grace of the figures
found in all Greek friezes figures
walking or dancing straight ahead ap
parently arid the body curved abov the
waist line..
I remember a great musician who
used to say at certain passages: Tvow
am thinkintr with my Knees. nis
only sounded like foolishness to foolish
people, who know nothing of the body-
brain, but this second brain is so neces
sary to musicians that it is sometimes
called the "musical brain' and no one
can be a really great performer who
does not possess something of it.
Beauty Not Only Goal.
Beauty and health are Inseparable
from rhythmic movement, but both are
far too selfish and unworthy to be tne
ultimate goal of any art. The real aim
s to be able to express an tnougnt Dy
movement of the body. There are
three ways of communicating thought
word, tone and movement, tne wora
U lust a mental symbol spoken print,
If you like and its limitations are
quite as cold and. narrow. The quality
of tone expresses, pnysicai conamon
and one can tell by a voice whether a
person is sick or ill, happy or gay. It
is only in movement or unconscious
sresture that the moral state or tne
character Is expressed. Through move
ment the emotions are expressed. -The
Orientals recognized this and were
such quick readers of movement that
in Persian law courts experts were
used to watch the witnesses while they
testified. The Persians know that un
conscious movements express the in
ner and deeper thoughts and feelings
more than word or tone.
If we visualized as we epeak, our
movements would be In exact har
mony with out woras ana .conversa
tion would be a joy, Dut mental vis
ion or the . subjective world Is closed
to the ordinary individual.
'All art is the language of feeling.
As the sculptor chisels noble 'Images
of thoughts Inmarble as the painter
blends nis colors - into a muBiorpicuo
on canvas, so beautiful images of
thought ought to be reflected In our
Dhvsical being.
The Idea is not impracticaoie, ior
we have a manifestation of the prlnci
pie In all children whose bodies read-
llv restond to ana retiect mental sum
uli. It Is only when the 'prison walls
begin to close about the gTOWlngr body,
as Wordsworth so poetically expresses
It in his 'Intimations of Immortality,'
that, the body ceases to respond to our
thought Images.
"The body should be a well trained
servant as a means of expression
not an end. After It has been taught
to resoond to feeling Involuntarily,
then we may forget it. In fact. If we
had proper, training as children It
would not be necessary to work on the
physical plane at all. But artificiality,
self-consciousness, the cramped and
arbitrary and spirit-crushing results
of Puritanism, false education and the
theory that whatever is beautiful and
Joyous and happy must of a necessity
be the machinations of evil, and all
the other kindred narrow ideals of our
heredltv have made of us a stiff, con
strained, hidebound race, afraid to let
ourselves do the natural things.
"If we were able to express thought
freely and clearly through every pose
THE SUXDAT
r v.
v , , -- - f xi -. x' v,, ,xx,'
XV5C?
and movement of- the body, and if
these physical symbols of thought
were readily understood and easily In
terpreted into mental pictures by our
associates, we should be - ashamed to
allow our minds to harbor Ignoble
thoughts. .......
"In the golden age of Greece, this
idea was appreciated and it was a
principle of conduct. It developed that
wonderful race of men and women who
furnished us the master sculptor, Prax
itiles, and his contemporaries with
their incomparagle models for their
Venus de Milo, their Faun, their Apol
lo Belvedere and the great painters,
Zeuxiz and Parrnasius, with studies for
those, wonderful mural decorations,
whose beauty and symmetry ' have
come down to us In the literature of
the most artistic race the world has
ever known."
Men like Rodin and Dallin have been
most emphatic in'emphasizlng the ab
solute difference of Miss Noyes' art
from any of the .neo-classical dances
so much in voguaw during the past 10
years. J
Isadora Duncannd Maud Allen re
viewed the classic dance, but Florence
Fleming Noyes brings forward the
appeal of pure lyric pantomime a pure
symbolism in a return to the Greek
spirit of abstract beauty, expressed in
the rhythm of the human body.
To her the perfection of the response
of the human body is both . a religion
and an art, imposing upon the individ
ual the high obligation both of noble
thought and of means to express ' It.
Keeping ever in view the ideal, the
body and Its perfections become the
beautiful instrument which shall sing
the soul within it the symbol of a
beauty which transcends the mortal
image.
To be merely an artist Is not the
Ideal of the exponent of rhythm. Her
aim is to teach rhythmical bodily ex
pression for Its combined ethical and
artistic value. She : would spiritualize
the body, mentalize It with pure
thoughts and motions for the sake of
human happiness, creating beauty . not
alone for its own sake, but more for
Its reaction as an inspiration to hu
manity.. Some of her pupils plan to
teach others to apply the new art to
social settlement work and a few to
appear publicly.
Possibilities Are Great.
'Applied to social settlement work
ah! there are the great possibili
ties," and with a wonderful sween of
her arms to some unattalned ideal Jn
tne innmte, miss. Noyes went on. "It
isn t what you think but the thoughts
MARY GARDEN WORKING OUT SOME
ORIGINAL IDEAS FOR HER NEXT ROLE
Stage Star Denies Rumor of Illness Campanini Employs New Talent for Chicago Company Charles Froh
man Brings Interesting Announcements on Return From Europe.
BT EM I MB FRANCES BAUER.
M
ARY GARDEN does not often go
to the trouble of denying rumors,
but she writes emphatically to
friends that recent stories of her poor
health are entirely unfounded, that she
Is well and. healthy and. somewhat
rested after the terrible strain of last
season. Miss Garden canceled all Sum
mer engagements that she might rest
and then work out some original Ideas
for the Wolf-Ferrari opera company.
Miss Garden has studied the per
formance to be given . by the
Chicago opera company, and she
differs materially from the ac
cepted interpretation. Miss Garden
cabled the Chicago opera company that
she will be on hand and she will be
heard In several new roles. Mme. Tet
razzlni. on the other band will 'not be
with the company this season and Cam
panini is planning to supply a colora
tura who will be equal to the support
of Allessandro Bond, whose return to
opera is regarded as one of the most
important events in the musical life of
next season. Campanini promises opera
in French and Italian, 10 performances
in English and not so much German
opera as was expected. This means
that Clarence Whltehill, who is pre
eminently one of the greatest artists
of the company will be heard In the
roles of French and Italian rn which
he has won laurels In France, Italy
and great -operatic centers. Campanini
has also engaged Allen Hinckley, the
American basso formerly of the Metro
politan for Chicago. Other Americans
to appear . under Campanini will be
Jane Osborn Hannah, Carolina White,
Margaret Keyes, Helen Warrum and
others. Bassl, who has not been - with
the oompany for two years will return
next' season as will Giorgini, also a
tenor.
Among the Important engagements
made by the Montreal opera company
is that of Slezak, the great .Czech tenor,
who closed his engagement at the Me
tropolitan last season to make a con
cert tour. Othei engagements made
by Mr. Rabinoff for the Canadian com
pany include Mme. Rappold, who has
Just been married to Rudolf Berger;
and Rosa Olltzka.
While a number of stories have been
told of the meeting of the soprano and
tenor, it Is generally understood In
musical circles that they met In Oscar
Saenger's studio, where Mr. Berger
came- to change his baritone voice into
a tenor and Mr. Saenger, according to
his usual custom, invited his other
pupil, Mme. Rappold, to sing parts of
OREGOXIAN, PORTI AND.
of Freedom of Thought and
l r J?
. "X, s. - - -
V
v x- 4. ,
you respond to no.t'what is Impressed
but what is expressed that registers In
outward form. Therefore I have such
high hopes of bringing beauty and hap
piness to the people who can only be
reached through social settlement cen
ters. "But the people of the upper classes
need this art just as much if not
more than the working people. The
so-called vulgar person is considered
too free in his body movements and
the roles - opposite to. those he was
learning.
Alma Gluck, who is in Switzerland
studying with Mme. Sembrlch has
awakened no end of interest In London
where she sang at the Albert Hall.
This will be followed by a song recital
in Queen's Hall, when she will have
as accompanist no less a figure than
Zimballst, who in addition to being one
of the greatest of the present-day vio
linists is a pianist equal to the task.
According, to cable messages, Milton
Aborn will produce in English the
Strauss "Salome," Saint Saens' "Samson
and Delilah," and his "Henry XIII." He
has obtained the rights to produce- In
English D' Albert's "Tiefland." These,
says Mr. Aborn, will be sung by Ameri
cans who have made reputations In Eu
rope but who - have yet to make them
in America. He will bring back to this
country several singers -who have be
come known as grand opera stars in
Europe. Here they were in light opera.
Among those in whom there is active
Interest may be mentioned Vernon
Stiles, long favorite in Vienna. Mr.
Aborn also engaged - the -Hungarian
conductor Szendrel, who was .with Dip
pel in Chicago two years ago.
Mr. Aborn Is due in New York this
week when all rehearsals and prepara
tion for. the seasons work will begin
seriously. One . of the most satisfac
tory moves that he has made in the
engagement of some of the members
of the Boston opera company, include
Elizabeth Amsden and Miss Scotney,
both of whom have made a place for
themselves in the critical city. Lois
Ewell is a former member of the Aborn
company whom Mr. Aborn has been
watching through -every detail of her
career, and he - believes . she will be
among the most successful of the
younger American singers.
.-
Edgar Stlllman Kelley, who in Eu
rope as well as in America is regarded
as one of the foremost composers of
the day, has presented for the first
time a new American symphony at Carl
Stoeckel's Norfolk Music Festival. This
festival Is in itself worthy of more
space than can be accorded to it cas
ually, because It Is one of the most
elaborate music festivals held In this
country, and the audience may come
there . only by the courtesy of Mr.
Stoeckel, who assumes every expense
himself and pays the highest for all
that he gets. He gives many com
posers opportunity to have their works
performed and to conduct them.
Mr. Kelley conducted his own work,
which he has called "New England,"
and " into which he has - brought the
JULY 37, 1913.
Movement, Destined to Cultivate Beauty, Health and Clean Thinking.
. ts Mi?
V
to be unlike him, the people, of the
higher strata of society go to the
other extreme. Culture and extreme
nicety have come to mean mincing
steps and nervous, jerky gestures. The
elite of society seem to think it bad
form to move anything other than
the extremities. Ultra-reflned, every
movement is restricted every muscle
kept in rigid tension. When you
clench your hand, you clench your
spine, if you but knew it. And cor
Puritan pioneer's Ideal. The four move
ments are Introduced by texts from
the log. book of the Mayflower, and
the slow movements consist of varia
tions of a splendid old choral written
In New England a century ago and the
scherzo is built upon themes of New
England birds treated symphonically.
The return of Mr. Kelley to this
country after his long sojourn in Ber
lin, where he was among the most
noted of musicians and composers, has
been a great advent for this country,
the only pity being that Mr. Kelley and
his lovely wife have seen fit to hide
themselves "far from the madding
crowd" in a small Ohio town where Mr.
Kelley devotes himself mostly to writ
ing. The return of Charles Frohman !s
always a National event in theatrical
circles. The eminent and popular lm
pressario returned from Europe Tues
day, July 8, and brought many Inter
esting announcements. He promises
many first-class new productions, and
the visit of J. M. Barrle. who has re
cently been made Sir James Matthew
Barrie. During this visit Mr. Frohman
will produce a cycle of Barrle come
dies. Mr. Frohman intends to open the
Empire Theater September 1 with John
Drew in a Shakespearean play, in it
self a startling event. Laura Hope
Crews will appear as Beatrice to Mr.
Drew's Benedict In "Much Ado About
Nothing," and Mary Boland will be the
hero.
Maude Adams is again announced for
"Peter Pan" during the Christmas
week, following which she will appear
in a new Barrie play, "The Legend of
Leonora." Another Barrie- play for
Miss Adams to be given still later is
"The Ladies' Shakespeare" and "Rosa
lind," both to be given on the same
programme. "
William Gillette will open a 20-week
season in November; BUlie Burke will
open a new play in December when
"The Land of Promise," by W. Somer
set Maugham, will have its first pre
sentation on any stage.
John Mason will again have that
lovely leading lady, Martha Hedman,
in a play by Augustus Thomas called
"Indian Summer"; Blanche Bates will
have a new Barrle play called ""Half
Hour" but running an hour In com
bination with which Stanley ' Hough
ton's three-act play. "The Younger
Generation," will be given, with Ernest
Lawford especially- engaged ' for the
programme. The plays call for 30 im
portant players.
Mme. Nazlmova is to continue an
interrupted run of "Bella Donna" in
New 'York, to be followed by & drama
5' '
-
4
sets they not only confine a woman's
figure they cramp her very soul.
"Que of the very first effects of the
acquirement of rhythm is a process
of elimination which takes place in
one's habits and life and surround
ings. You find that you can do with
out a great many of the clothes you
have been accustomed to wearing a
great many of the things you've been
in the habit of using. I furnished a
house seven years ago. I've just fur
nished another one now. These two
houses are typical of the change and
evolution which has taken place in
me. The tirs't one was ornate and
the new" one is the epitome of sim
plicity. I find everything about me
affected in the same way for the
most part unconsciously, too.
"You can judge a people by the sort
of dancing they take up. The gavotte
and pavane, the languidly sentimental
waltz but reflected the character of
the people who danced them and the
of Importance which is as yet un
finished. Mr. Frohman feels satisfied that
Ethel Barrymore will have a great
medium in the dramatization by C.
Haddon Chambers, of the well known
novel "Tante." and among other im
portant play3 for which, he has - not
yet arranged the casts he names a
new four-act play by John Galsworthy
called "The Mob," to be produced In
New York before the London per
formance and one by Henri Bernstein
to be given In New York ahead of
the Paris production.
Mr. Frohman will bring to New York
the entire company from the Criterion
Theater, London, in H. V. Esmond's
play, "Eliza Comes to Stay," with the
author and Eva Moore in the leading
parts. Just before leaving Europe Mr.
Frohman secured from Sudermann the
American rights to his latest worn,
"The Song of Songs." Mr. Frohman
also has brought a long list of musi
cal comedies and will begin the season
August 25 at the Globe Theater with
Leo Fall's "The Doll Girl." in the cast
of which will be Richard Carle and
Hattie Williams.
Following Julia Sanderson in "The
Sunshine Girl" at the Knickerbocker
Mr. Frohman will produce the delayed
"Marriage Market," with Donald Brian.
From the Gaiety Theater in London
will be brought George Edwardes
"The Girl On the Film." and an oper
etta from Vienna entitled "The Lit
tle King," will be adapted for Amer
ica by Harry B. Smith, with new music
interpolated by Paul Rubens, whose
"Sunshine Girl" has been one of the
hits in many years. Mr. Frohman will
present "The X-Ray Girl," and he will
bring another great success called
don the latest operetta by Oscar
Strauss and from Germany, he will
bring anothes great success called
"The Laughing Husband."
- .
William Furst. the well known con
ductor of music at the Empire Thea
ter, has not made his vacation a com
plete rest, but perhaps now. he may
give himself to recreation -after the
completion of a musical setting for
Margaret Anglln's production of "Elec
tra," of Sophocles, which the popular
actress win give in tne Greek Thea
ter of Berkeley in September. Mr.
Furst has employed .in the orchestra
tion only woodwinds and brass.
Milton Aborn, who expects to get the
first opera of the season on the stage
by September 15, has returned from a
short tour of Investigation through the
musical centers of . Europe. The Im
presario found a few of the condi
tions through which the American
singers are compelled to struggle and
n is eviaeni xnat ne was deeply Im
pressed with the shallowness- of thest
conditions. He, too. has discovered fo?
himself that much of the vaunted
"artistic atmosphere when shown
forth In Its true colors . spells graft.
"Most of. the teachers and agents
over there," said Mr. Aborn. "are out
for the American dollar and a mediocre
singer can demand almost anything for
which he or she is able to pay. In
OPS
"ft
characteristics of the times. Thosa
symptoms of profound degeneration
the Bunny Hug. the Grizzly Bear and
the Turkey Trot did not appear by
accident what makes them so terri
bly significant is that they are real
'folk dances' and express an inward
condition in the people who practice
them. They are only possible in a
generation which has for the most
part grown up without any artlstio
or religious leaven."
Amon gthe girls stdying with Miss
Hoyes are Beulah Hepbtirn, daughter
of A. Barton Hepburn, of New York;
Margaret Tuttle, daughter of Mrs.
Howard Mansfield, a prominent suf
frage leader; Mildred Anderson and
Mabel Coffin, of New York; Elena
Farnos. a Kansas City society woman;
Winifred Lawrence, a Cleveland society
girl; Lenora De Grange, Effie Baker,
Kathryn Dunkhorst and Elise Ryan,
of Washington, and Bertha Remick, a
composer, of Sharon.
competent singers can appear in the
foremost opera-houses if they pay $1000
to a parasite called an agent who has
some concealed pull with the manage
ment. On the other hand, talent has a
long and almost hopeless struggle tf
It has no mopey."
. Mr. Aborn also found thd agents who
give young musicians concert appear
ances for a stated amount for which'
they supply audiences, claque and criti
cisms. He found the teachers who
promise great careers to the most in
capable students, keeping up their
hopes and the flow of dollars by pre
dictions of great operatic successes,
and on the whole he found conditions
more pitiable than he would ever have
believed possible to exist.
He also exposed the sort of contracts
which young American singers sign in
their effort to reach the opera stage.
He had an application from a prima
donna whose present contract gives her
200 francs a month about .$10 a week
out of which she must supply her
own costumes and wigs, and a proviso
that if she does not "make good" her
contract becomes null and void.
Mr. Aborn said that the fine Ameri
can voices he heard in Europe were
also a revelation to him and that he
would endeavor to do all in his power
to give these singers a chance to make
careers. He announced the engage
ment of Gustav Bergman, a brilliant
young tenor, who cancelled an engage
ment in Hamburg to come to America,
and he took over from Mr. Dippel the
contract of Morgan Kingston, a young
tenor from the mines of Wales, like
Dan Beddoe, of this country, and whose
voice has aroused the utmost admira
tions in all musical circles of Eng
land. Mr. Aborn also has engaged
James Bardsley, tenor; Louis Kreidler,
Alfred Kaufman, bassos, and Hugh
Schussler, basso-baritone. In addition
to those already named. Much is ex
pected from Kathleen Howard, a young
American contralto, who has made con
siderable stir in Europe.
Mr.- Aborn contemplates bringing the
Russian ballet, now appearing at
Covent Garden, to the Century Opera
house. Another arrival on the Imperator
was' Henry K. Hadley,' who left New
York immediately for San Francisco.
He was most enthusiastic on the sub
ject of Kathleen Howard, the young
contralto, whose voice he describes as
wonderful and whose future he
prophesies as most promising. Mr.
Hadley saw and heard enough musio
to Inspire him in his work, which h
will resume with renewed enthusiasm.
William Faversham announced thla
week the engagement of Cecilia Loftus
to appear as Juliet and Desdemona id
his Shakespearean productions next
season. If Mr. Faversham presents
"Hamlet," Miss Loftus will also appear
as Ophelia. Miss Loftus has so long
been identified with the vaudeville
sta;e that her appearance in legiti
mate drama of this class is extraor
dinary. Julie Opp and R. D. MacLeaa
will support.