London, May 2.
With opera in full swing and private view day at the Royal Academy already over, the season ig fairly launched. One would expect a somewhat monotonous season in any case, for last year's was "the most brilliant ever," and Nature demands a perpetual antithesis. in all things. But walking through the galleries of Burlington House yesterday, one was struck by the Sombreness of the dresses. Most peopl do always dress in dark colours for the private view—which also is one of the few functions Where top hals are still the proper thing—but there are usually plenty of high lights. Yesterday "there were hardly any. So far does the influence of King George's death and the Court mourning extend in spite of Queen Mary's intimating that colours should now be worn.
But if the spectators were soberly gowned there is plenty of colour on the walls. Evening frocks are still the most popular with women when their portraits are being painted, though some young girls prefer Jumpers, rough tweeds or simple cotton dresses.
Two outstanding frocks, were in parchment-coloured satin one with a cep lace bertha, made just off the shoulders, pointed bodice and very full skirt, the other dress more severe, with tight fitting bodice, buttoning down the front and a draped skirt, Black dresses are the most popular, for evening or day wear, and certainly black is becoming both in real life and in portrait, The dresses were mostly in. dull finish for the evening, with draped bodices, and no trimming except a diamond brooch or spray. Black velvet looks very regal, giving a soft very popular with Blue is also popular, and one very. charming frock was in deep blue crepe de chine, cut low. with a blue scart spotted in pale plak, draped over one" shoulder. Several white dresses appeared, one with a deep pleating of material over the shoulders, a blue sash fall fed skirt and a very large white straw hat with a. blue ribbon, The Duchess of York and the little Princesses made a charming group, all wearing cream frocks, or "om white" as we now call it, Revolt Against Make-Up One conspicuous feature is that the portrait-painters appear to be head-Ing a revolt against make-up. In Mr. Dugdale's portrait of Miss Vivien Leigh, the young actress, the device fof scarlet finger-nails to supply the tone touch of vivid colour has been fused as it was so commonly last year, But Mr. Augustus John, Mr. Gerala Kelty and Mr. Philip Con-ard all appear'to have insisted on natural complexions, no lipstick, no coloured nails: and" certainly this naturalness goes best with the flowing draperies in which their subjects are painted.
Another Opera Season As for Covent Garden, we are continually told that opera does not that this season is to be the ast, and that the theatre is sold to-make way for more flats. But at the last minute all is saved somehow, and this year the opera bids fair' to be more distinguished and more sought after than ever.
Tt opened with a superb perform= ance of the "Meistersinger," with a charming young newcomer Tiana Lemnitz, equally delightful to see and to hear, as Eva, Then came "Rigoletto" which somehow was not at all good, though it gave the audi" fence a chance to show their sportsmanship: both conductor and singers were Italian and it seemed that, just because we feel so intensely about the Italians' use of mustard gas in Abyssinia, the audience at Covent Garden was the more resolved that this Indignation should not be vented innocent artists. Next came mast majestical "Parsifal," and then fan "Aida" which fully atoned for the "Rigoletto.
Two things strike one in connec-ton with these performances, Heresy as it may seem to say 50, Wagner Ought to be "cut". "Meistersinger™ was played uncut, and though it began at 630, it did not end until afier 11. In the "Ring" cycle only "Rheingold" can be completed after inner and "Golterdammerung" must start at half-past five. In "Tristan," at the beginning of the third act King Mark holds forth without a break for 45 minutes, which, even for an outraged husband, Is' excess sive. Genius has been described as fan infinite capacity for giving pain, certainly knows no bounds in its exuberance. Glorious as Wagner one simply breaks down under his terrific length. Why should he not be cut to the capacity of ordin" ary mortals as Shakespeare habitually is?
Text read from the printed page and cleaned; old type leaves the occasional error.