country. It is therefore a pleasure to note that in point of attendance, this city has responded well to the call for its action in the premises. But it must bestir itself more vigorously if it is to be quoted as one of those upon which no shadow of doubt can be cast in regard to the support rendered when National opera enters its portals. The intelligent and praiseworthy criticisms emanating from the local press have already proved their worth in a largely increased sale of seats for the present week, and the season here will undoubtedly bring a handsome return to the management.

Nero" naturally drew a very large audience. The implication that so historically an important a character would receive a truthful, coherent treatment by the librettist, Mr. Barbier, is well-sustained, while skilfully blended into the same is the romantic appreciation of a tragic epoch that has called forth the composer's greatest efforts in dealing with this story. The gist of it lies in Nero's desire to possess the virtuous maiden Chrysa, a theme of sufficient strength to stimulate Handel and Paliarincini into the composition of operatic work of like nature in their day, and one which Bioto is now engaged upon. Whatever may be said about Rubinstein's treatment of it as commensurate to his reputation, wherein the doctors disagree in there estimate thereof, it is his greatest work without a doubt, and one which places him beside Wagner in tone-painting and magnificent orchestration. He has also equalled him in the style of merciless writing for the voice, yet in so doing has not shown the variety, color, or melodic power so masterfully displayed by the great German. binstein's peculiar temperament is emphasized in this opera, the transition from original and majestic music to that of a conventional tone being frequently very marked. The prelude is very attractive. The first act contains, at first, a powerful chorus, and a beautiful one by the female contingent later on. The marriage form between Nero and Chrysa is also beautiful. The second act is the weakest, the third the best, and the fourth holds the interest if it does not excite the heart. The music is more grand than pathetic, and altogether deserves more than one hearing in order to appreciate its many beauties.

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The performance was eminently satisfactory. The new tenor, Eloi Sylva, as Nero, carried the audience by storm. He has great dramatic ability, a handsome figure and classic head. His voice is rich and full, exquisitely touching in the lighter passages

of the opera, and one which is used with such consummate skill that meets with astonishing ease the severest demands of the difficult rôle. He is one of the few tenors of today who gives value and sense to his words, his declamation being perfect. Miss Juch also won high honors as Chrysa, this performance being now her best impersonation to many minds. The assumption of Vindex by Mr. Ludwig was artistically and sympathetically taken, his work throughout being most successful. Miss Poole, as Epicharis, sang well, and acted with all her well-known ability, and the balance of the cast was in competent hands. Especially to be praised was the grand work of the chorus in this trying opera; and in its settings and costumes it deserves more than a word of recognition. In spectacular magnificence, grand ensembles, and striking groupings, it rivals any previous production witnessed here. The orchestra in its performance was well-nigh perfect, being more than equal to the demands of the score in all respects. The reception of this opera is a great tribute to Mr. Locke, and to that grand leader of his orchestra, Gustav Hinricks, who has proved to our musicians that brass instruments can be used to their full value without endangering the strings or wood in their sphere of usefulness-a vexed question with our symphony concert leader.

"The Queen of Sheba" is a composition of such varied and striking characteristics that pages could be devoted to its manner of construction, story, and musical position among works of like nature. In many respects it outranks them all, and as an unique and magnificent opera can only be adequately likened to Carmen" in a comparative sense. While Goldmark is well-known through his "Peasant Wedding" symphony and Sakuntala" overture as a rich and harmonious composer, one who could take this Biblical subject and fulfill all musicianly expectation in dealing with it, it behooves his most ardent admirer to seize the first opportunity to hear this his first opera, not once, but a dozen times if, possible, if a full conception of Goldmark's ability would truly be obtained. Mosenthal has made a book most suitable for its purpose. Its story, while not strictly Biblical, has its theme sufficiently true to the same for truth's sake, and is developed in a romantic fashion of great weight with one of the composer's nature. For it has enabled Goldmark to give full swing to his vivid sense of harmony and construction. Here is found such abundant wealth in flowing, exquisite melody, such brilliant and complicated instru

mentation, that one is carried to the verge of musical lassitude after so overpowering a feast. Born of an intensely poetic nature. this music, never excessive in tone, painting. contains all the essential features for an Oriental lyric drama. The wonderfully appropriate distinctions made in the use of the various ranks of instruments and in their application to the sense of the stage action are masterly. The excellence of the cast rendered the performance doubly attractive. Mr. McGuckin's fine presence and delightful voice obtained for him the ready favors of the brilliant audience, which quickly recognized his sterling qualities as a vocal and dramatic artist. Messrs. Vetta and Stoddard also won hearty recognition, and Miss Fabrics won a triumph in her rendition of the spell, a song akin to the "Indian Bell" in

Lakme." Miss Poole was admirable in the.. little rôle, and Miss Pierson very satisfactory as Sulamith. Altogether the opera was superbly presented, and the orchestra again proved its excellence by a rich and finished exposition of the beautiful music. While the chorus was always true and pleasing in its work, a more careful study in this and other operas of stage movements and position in groupings will prevent the annoyance caused by frequent carelessness in these respects.

The performances of "Faust" and "Tannhauser" were also most satisfactory. "Aida" was equally so, and in each one of the operas performed during the week, the importance of their rendition in English was plainly manifested by the close attention paid to the singers and the recognition of dramatic action when emphasized by words clearly understood by the audience.

Henry Whiting.

"THE Ballet in Paris," profusely and beautifully illustrated in colors, is the subject of the initial article in the February number of The Cosmopolitan. It is by the well-known and brilliant correspondent, Theodore Child, who describes with true French vivacity and Anglo-Saxon delicacy the life and character of the Parisian ballet girl. He shows that her training from childhood is painfully exacting and laborious. Dazzling and fascinating as she is before the footlights, with her face all beaming with smiles, and moving with a marvelous ease and lightness, she is quite different behind the scenes. Here she is, as a rule, scrawny, and invariabiy ignorant of everything except her art. Mr. Child gives an account of the most famous of the Parisian danseuses, and mentions the marvelous salaries that some of them receive. Several of the illustrations accompanying his article are by M. Paul Renouard, the distinguished Parisian artist, whose picture of ballet girls are the finest made.

THE PRODUCTION of the play of "Abbe Constantin," a dramatization of Halevy's novel, has excited enough interest to attract what have been doubtless paying-audiences to Wallack's Theatre. The piece is as harmless as a strawberry festival held in a church. Possibly it might teach a better lesson than the average sermon, but in spite of the fact that it gives a superb opportunity to Mr. John Gilbert, it is hardly the sort of a play to be fitted to such an admirable company Mr. Abbey now possesses. The story hinges upon the love of the dear old Abbe for his god-son, the latter's introduction to a young American girl who has lots of money, and the final union of the young people. The great mistake of the play is that the American women who win the Abbe's heart, and supply him with no end of money for his poor, are of not some other faith than Catholic. Before the Abbe meets them he is told that they are heretics. but on their entrance he is carefully informed that they propose to be members of his flock, and are what he is. Had they professed some antagonistic religion their winning of the Abbe's affection would have secured a more emphatic motive and not have destroyed the good purpose of the play. Mr. Gilbert has never given us a stronger impersonation than that of this lovable Catholic priest. He is the charming center

of a pastoral play, which, while not dramatically strong, presents such an acceptable picture of a certain country life as to demand for it more than passing attention. Certainly every minister should see this play certainly no one could cry out against it as an immoral agent. The most bigoted would admit its atmosphere to be pure and wholesome.

MRS. ABBEY offers a most graceful and sympathetic portrait of Cynthia Ray, an American girl in this piece, and is discreet enough to play it with subdued voice and quiet action. The part of Mrs. Scott is effectively done by Miss Conway, but it is very evident that Miss Coghlan's refusal of the role was perfectly justifiable. It was claimed that this is the chief character as acted in Paris. It is, but it is given with a vulgarity I understand that is always attached to any representation of an American woman on the French stage. An uncalled-for exaggeration of the part here would not have been tolerated.

So sweet Annie Robe is married and left the stage? The thief who has thus robbed us of one of the most lovely women that has ever put her foot upon the American stage deserves to be branded for an offense which will meet with the indignation of thousands of admirers. I have before me now, as I write, the charming portrait of her which was published in number 51 of THE THEATRE, and I propose to frame it in white and gold. Her last appearance on the stage was Saturday evening, January 21st, as Diane de Beaumont in "Paul Kauvar." In it she made the greatest success of her life. On the Wednesday noon following she deliberately, and without any feeling for any of us-married Daniel Paine Griswold, son of Burr W. Griswold, once of New York, a graduate of Harvard College last year, and a member of the Hasty Pudding Club. The bride is an English girl, her father's name being James Banks Robe.

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MISS ANNIE ROBE adopted the stage as her profession at a very early age, making her first appearance in a small part in a pantomime at Sunderland, Durham, under the management of Mr. E. D. Davis, in 1879. It is somewhat singular that her first ma ager in this country, Mr. Lester Wallack. should have also passed a large portion of his novitiate under the same manager and in the same cities. Soon after the close of the run of the pantomime alluded to, the leading lady of the company left the theatre somewhat suddenly, and Miss Robe, whose earnestness and ability had attracted the attention of Mr. Davis was advanced to the vacant position and played leading business for the balance of the season. She afterward traveled the Northern circuit, making a decided hit as Lord Eden in " Formosa." Thence she went to Plymouth, and was for two seasons under the direction of Mr. J. R. Newcombe, acknowledged to be one of the most intelligent managers and stage directors in England, from whose theatre many of the foremost English actors have graduated. Here she made a hit as Louise in the "Two Orphans." Mr. Henry Leslie, the well-known author of the "Mariners' Compass, 'Orange Girl," etc., having witnessed some of her performances, engaged her for the Theatre Royal, Leeds, of which he was then director; but at the close of one season she returned to Plymouth, and made distinct successes in Desdemona, Katherine in "Taming a Shrew," and in Juliet, the latter being spoken of in the highest terms by the local press. Miss Robe had not at this time attained her eighteenth year, and her girlish appearance was warmly eulogized in the character of the beautiful Italian girl. She remained in Plymouth for three seasons, reaching the goal of her ambition in 1881, by appearing upon a London stage in one of G. W. Sims' plays. She subsequently made tours of the provinces with E. Terry, playing the heroines in Byron's dramas and comedies—afterward with Wilson Barrett in the " Old Love and the New," (a version of the "Banker's Daughter,") in the "Galley Slave," and in "Romany Rye." She

also played in the provinces in some of Buchanan's dramas, notably: "StormBeaten," and later on she appeared for over one hundred nights as V'era, in Hamilton's drama of "Moths." She was engaged by Mr. Arthur Wallack for his father's theatre in 1884, and made her bow to a New York audience in a weak piece called "Nita's First," and in a character which afforded no scope for the display of her undoubted ability. However, with better opportunities, she rapidly advanced herself to the position of a public favorite, and her Mrs. Macdonald in "Impulse," Dora in “Diplomacy," Valerie in Belasco's play of that name, and Vera in "Moths," will not easily be forgotten by the playgoers of this city. Last season, when Miss Coghlan left the Wallacks' company, Miss Robe became the leading lady. This year she began the season on the road with E. J. Henley in "Deacon Brodie." A few weeks before the production of "Paul Kauvar" at the Standard she left the "Deacon Brodie" company to take the part of Diane de Beaumont.

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IN regard to the marriage it is stated that the couple, accompanied by Mrs. Robe, left the Hotel Vendome at about half-past eleven o'clock on Wednesday, and drove to All Soul's Church. Here Alexander Mitchell Griswold, brother of the bridegroom; Mr. Sackett, of Providence, his uncle, and Wright Sanford were waiting for them, and the Rev. Theodore C. Williams, pastor of All Souls', quickly performed the marriage. ceremony. The bride and groom then took a carriage and drove directly to the Pennsylvania Railroad station and took the train for Baltimore. They will remain a few days there and then go to Washington and to St. Augustine, Fla. The bride wore a traveling suit of dark-striped goods, with an Alpine hat of the same cloth.

MISS ROBE has been much admired in private life, and was well acquainted with many of the prominent members of the leading amateur theatrical clubs.

MISS ADELE BELGARDE has made a great success as Diane in "Paul Kauvar," but she withdraws in a couple of weeks, I understand, when her place will be supplied by Mrs. Berlan - Gibbs, a "society" amateur actress, who played last Monday night in the Metropolitan Concert Hall in a piece called "Major and Miner." Fileur.

THE ·CARMEN" AT THE FIFTH AVENUE.

THIS charming work, which appeared on the repertory of the Boston Ideals three times last week (23d, 25th and 27th insts.), seems to furnish the musician and the

lay member an almost inexhaustible fund

of material, both for amusement and reflection. Bizet's chief work is filled with characteristic melodies, which may be readily "caught up," and at the same time they are brought in again and again with the harmonies varied, while occasionally fragments are treated thematically, and developed with as fine taste and as keen perception for dramatic truth as Wagner's chorus in his music dramas. But Bizet very wisely maintained the musical forms which ever will remain the groundwork of all musical composition, and the result is that we have complete numbers-duets, trios, and choruses so beautifully blended together that the effect as a whole is most satisfying in every respect.

As for the orchestration, it is simply all that could be desired, and more than could be imagined, so surpassing is it in its freshness and originality.

To hear opera in English, and to understand every word of recitation and dialogue, seems such a luxury in a certain way, after hearing so much in foreign tongue, still it suggests to one's mind how strangely the first services in the Protestant churches must have sounded to the ears of the halfuncertain "heretics," who, from habit, still mumbled their “Pater nosters."

The master of the "Boston Ideal Opera Company" may well feel proud of the presentation of " Carmen."

Mille. de Lussan, in the title rôle, was altogether captivating in appearance and action, coquettish and even bold, without vulgarity. She possesses a voice of beautiful quality, and uses it with taste and feeling. The rendition of the "Avenera" and the "Signidilla" were especially good, the latter being encored.