A Compromise in Birds

WHEN Gounod set to music the well-known play of "Romeo and Juliet," by E. H. Sothem and Julia Marlowe, he was confronted with one serious difficulty. In Balcony Scene Number Two, it may be remembered, there is considerable dispute between the lovers as to the identity of a mysterious bird. Romeo is willing to wager his doublet and hose it's a lark. Juliet, in her feminine way, insists just as strongly that it's a nightingale. Then suddenly there is a mutual change of opinion. Romeo, possibly because of a tip from the wings, reverses his decision and declares roundly, "It is a nightingale!" Whereupon Juliet takes up the cudgels for the lark.

In the play, this momentous question is never settled, and the audience remains completely mystified as to the real nature of the bird. But operatically the problem cannot be so easily dismissed. The musical accompaniment must indicate definitely the noise which has stirred the lovers to argument. Yet how can an orchestra simultaneously suggest both a lark and a nightingale? This is the musical enigma faced by Gounod, and in the solution of it the French composer has shown supreme genius. With a self-possessed spirit of neutrality he discards both lark and nightingale, and has the clarinet make a noise like a guinea-hen.

FROM the Century Opera House comes word that a pigeon recently flew into the room of the property manager. The bird was promptly adopted, and is now a regular member of the company. Its operatic debut may be expected as soon as it can be taught to sing in pigeon-English. The Aborn shows have long been famous for their special menagerie features; the newly arrived pigeon, therefore, should fit into the Century scheme as well through its biological efficiency as for reasons of stage economy. It is rumored that the bird will appear first as the dove in "Parsifal," doubling as the swan in "Lohengrin."

SIGMUND SPAETH