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From this lapse he has just recently recovered gloriously. Paris had two Mozart festivals, both in the beautiful Theâtre des Champs-Elysées. The first of these was the venture of the Vienna Opera, complete with orchestra, singers, scenery and Herr Direktor Franz Schalk. It was part of an "official tour." Six operas were presented. There was no "modernizing," but the strictest possible adherence, to the purest Mozart traditions. Herr Schalk accompanied sections of the Don Giovanni on a harpsichord, that ancient ancestor of the pianoforte which Mozart himself loved for its faint and delicate tinkle. Restraint and sobriety...
...thus he was considered a radical, although he was carefully trained in technique. Besnard is President of the Ecole des Beaux-Arts, and Director of the Ecole Française in Rome. He has decorated many important Parisian buildings, notably the Hotel de Ville and the Théâtre Française. His activities cover also portraiture, and life in France and India. Doubtless ,the best of Besnard's work is being saved for the Pittsburgh show, but the present exhibitions are proof of his right to fame. Such canvasses as Sous des Saules (two women robing under...
...Italian novelty will be Montemezzi's Giovanni Gallurese, an earlier work than the popular Amore dei Tre Re. The scene is laid in romantic Sardinia during the Spanish occupation in the 17th Century. First performed in 1905, at Turin, it is said to be very melodious and effective...
Some weeks ago the Metropolitan Opera Company entertained a composer of an opera in its repertory. Italo Montemezzi, "honored guest" at a gala performance of his own L'Amore dei Tre Re, was crowned on the stage with a wreath. Now a similar event has taken place. Max Schillings, upon visiting America, was a guest at a performance of his own Mona Lisa, which was given last year for the first time in American (TIME, May 19). Schillings was not crowned with a wreath. He does not, indeed, deserve a wreath; his opera is not half as good...
...that on demand, and not on limited supply, can be found the panacea for which the laboring classes search. The significance of this is apparent, and Mr. Strachey brings it out in discussing Labor as a partner of industry; for, as demand is the raison d'être of wealth derived through the medium of Labor, it should govern Labor's attitude to employers, to strikes and to itself. In other words, to borrow Mr. Strachey's simile, if Labor wants a larger share of the cake, a larger cake must be made and a larger cake...