New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-10-03
THE PLOT OF THE NEW OPERA.
MR. ARoNsoN ADMITS SOME THINGS ABOUT GIL
BERT AND sULLIvAN's LATEST OPERA.

MR. ARONsoN ADMITS SOME THINGS ABOUT GIL
BERT AND sULLIvAN'S LATEST OPERA.
The kilograms from London announcing the title
OF Gilbert and Sullivan's opera as The Woman
of the Guard, the Merry Man and His Maid' have
completely upset the plans of those Interested In the
production of the opera here. Mr.. Aronson admitted
yesterday that the title given In Mr. Yates's dis
patch to The Tribune correct, but ntimaed that
It was rather long for his purposes and before long
Il would probably be reduced 10 The Yeoman' In
stead Of giving the public a surprise with an unex-
peced production of the opera, at first intended.
the plan now is announce the date of the produc-
ton next Sunday publish full particulars of the
nbretto and score tomorrow. The two acts of the
opera are laid in London, and deal with simple
love story during the Ezabethan period. After the
usual opening chorus a calcium light reveals Phoebe,
daughter of the cOmmandant of the Tower near by at
her spinning wheel She sings and her father enters
and rebukes her. but the dispute is amicably adjusted
and then the is dragged in bound in chains and
under sentence of death. Phoebe falls in love with
him and he piies her. but cannot return her love
The following extracts from article published in
"The star give the rest of the plot and are adj
mitted by Mr. Aronson 10 be partly correct, though
not wholly
The convict element appears in the person OF
a London artisan who is In love with Phoebe and
democratic last degree. trio which is
followed by chorus and the mob arrive with an
other prisoner In the person of beautiful ballad
singer who apparently is arrested for nothing in par
ticuar. Here the villain Of the piece comes on
and informs the tenor that he is condemned TO death,
while that hero says that he would die happy If he knew
that his title and property passed TO anybody else
than his cousin, whom he does not recognize in the
villain of the play The Lieutenant of the Tower ap-
pears and suggests the wedding Of the hero with the
ballad singer and with much discretion takes of the
chorus and the other characters leaving the hero and
his fancee 10 exchange condolences and sing senti-
mental duet After this the characters, comic and
otherwise, return and a lively ensemble brings down
the curtain on the first act
In the second the heroine tells the story Of her
ufe-of penury and temptation-and sings ballad
which Miss GrlswOld thinks is as great as sullvans
Lost Chord" 1t is written in a subdued vein, and
with its surroundings is undeniably pathetic. But
the cynical hero breaks in upon her story, and what
should be tragedy is Immediately turned, not even
into farce but 10 the widest realms of burlesque.
The scene of the second act is the interior Of the
Tower Of London and constant reference Is made to
the fact that preparations foot for the hero
execution. At intervals the funeral knell Is heard.
and even amid its solemn reverberatons there Is
love quarrel. The Lieutenant of the Tower has his
innings having discovered papers which prove
that ballad singer Is young lady of noble birth,
whose father enemy of Cardinal Nosey, ana
therefore disposed OF I'm true medieval style.
The hero and ballad singer now deeply in love
with each other but II is too late the moment la.
come and tie headsman is ready. A tragic parting
cnsues. and the hero goes Of 10 the block His loved
seeks comfort from Phoebe bur the maevolentess
instead of being Sir Arthur sullivan seemed to com
pose it, fearful anu dramatic episode Is likely TO be
he most ludcrous in the annals Gilbertian opera
The villain then appears and claims the ballad
singer his bride. he being the hero's heir but
there is a crash and the nero appears with triumph
ant smile owing 10 the good Offices Of the Queen, he
Lad Jeon Iafdoned.
from a. m. 10 p. ~. and at the Metropolitan
Opera House from Z 80 to 10 p. m. The libreto
ucation.