Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1879-05-22

ment, at once def, and yet almos
battling to analysis or criticism, it pre-
sents the ludicr0us aspects Of the con
ventional opera, and puts in clea
light and effective contrasts its salien
absurdities. Mr.. Arthur Sullivan
exhibits the very essence of burlesqul
in the preternatural solemnity an,
composure with which he fits mirthfu
verses and ~nonsensical situations witt
correct operate forms. Mr.. Sullivan
puts the most serious musical expires
sion upon Mr.. Gilbert's most ludicroul
things.
The opening chorus is a familiar de
vice of the opera. Something is need.
ed to start the piece well, and in Pima.
fore the men, having nothing what.
ever to say, come on to tell the audi.
ence in a brisk tune that they sail the
ocean blue, and are sober men and
true, and when they get through they
shout, Alloy, ahoy," as operate sail
ors always do when they are lacking
something else to do. On the Maple.
son nights, after this chorus, or one
like unto it, it was in order to adjust
the opera-glasses to turn full upon the
prima donna, a tender village maid,
perhaps, who was to come from the
side scenes in pearl powder, smiles
and muslin trimmed with lace and
SATIN, to MARBLE innocent sentiments
to the admiring village chorus. In
Pinafore the aria d'entrats comes from
the lips of an old bum-boat woman,
whose Introductory recitative is ac-
cOmpanied by grandiose chords in the
orchestra, full of pretentiousness OF
something that never comes, and the
passage ending, ITO welcome Little
Buttercup' on board" languishes an
the soft harmony that attends the
words. Il am called Little Butter
cup" Another characteristic ira
veSty marks the appearance Of the
tenor, as the opera is always marked
with a sentimental andante as the
tenor draws nigh. The nightingale
song of"Ralph Rackstraw" COMFORTS
with the tenors love signs, and fol
lowing it comes that highly amusing
chorus, which invariably sympathizes
with the last speaker, no matter what
is said or done in the course of the
play, They turn about unanimously
and instantaneously in the cause of
the lover, and share the emotions OF
the love-lorn sailor, crying like par
rots to the Captain" Were very
good, and be it understood, he COM
mands a right good crew y then join
ing on Sir Joseph POrter's'' reminis
cences, and at length pouring floods Of
compassion upon Josephine" No
action is too sudden for them; no
change in the sentiment Of the drama
or the music can be so great or SO alb
rupt as to check their readiness tot ID
prove enthusiastically at everything
and adhere vociferously to the person.
who chances to occupy the station for
the moment.
A CHORUS LIKE THE WIND.
Says one critic in this same line Of
thought =" Never were the functions
of ohoristers in serious opera more
delicately satirized, and never surely
was the customary manner OF placing
them ON the stage more perfectly illus
trated, Than in the scene where the
sisters and cousins and aunts, tripping
across the deck, station themselves 10
uncompromising lines in front of two
rows of sailors. The pretty chorus Of
women, in the manner Of a Barcarolc
which precedes the entrance of the
female relatives, is a copy, in style, Of
many a bit OF melody which has pre-
figured for US, ON more pretentious
stages, the coming OF somebody in an
impossible boat, with various appa-
ratus of unproyoked festivity. Iheu
follow the various dramatic numbers,
which Italian composers account
essential. a 500 as their opera has
been fairly set agOing, the distraction
OF the prima donna, the agony of the
raying tenor, the wrath Of the op
presSor. Accusation, denunciation.
lamentation, load the air with melodi
GUS horrible, while the placid orches
ira, innocent Of all share in the gen
eral emotion, beats its calm coon
Daniment, which lrresistably reminds
US Of one of the scores Of Bellini
Suddenly, at the climax of distress.
there is a change of sentiment on the
stage. Ralph and ~"Josenhine -
fall into one anOthers arms and rush
to the footlights, with the whole com
pany behind them, to the tune of an.
allegro yiyace, sing, "0h, Joy, Oh
Rapture Unforeseen" the effect of
which is so familiar that we fancy we.
have heard it a thousand times. and
yet so comic that we wonder how the.
performers themselves can 90 through
il with straight faces. Sometimes
they cant. The act closes with a de.
liehtlully conventional finale, which
works over one Of the most striking
themes already used"
A POLITE AND ACCOMMODATING
OPERA.
An opera which did not give Tho
prima donna-nOt too early in the
evening" scene or n graAd display
piece in three movements. would be
deficient. "Pinafore' is as polite to
the prima donna, and, in the second
act--laid out with absolute regularity
on a magnificent scale-a melanchol,
introduction, 'The Hours Creep on
Apace," in the form Of an accom-
panied recitatiye then the slow,
quasi puolando passage, which CORE.
spends with the customary andante.
and lastly the impassioned allegro
conspirato, wherein Josephine is
expected to exhibit all the strength
and compass of her voice, the force Of
her style and the faculty of her vocal
izing, the words standing in ludicrous
contrast TO the character of the music.
Study all the remaining number.
and vou will find ~ olu,os4 .,.It,