The morning news. [volume] (Savannah, Ga.) 1887-1900, 1890-12-28
MANAGER ARoNsos's REAsoy

The qualities to which the snccass NJ
comic opera are due are mainly picturesque
ensembles aud the correct [. trlhution of
parts In accordance with the original lines
and ideas of the COMPOSER. The eve nc
well as the senses, must be gratiAed. The
vast strides that have cen made in the i'm
provement of stage adornment render
possible, now, decorative and spectacular
effects that we're not possible in the earlier
days of comic opera, or opera bouffe as il
was then called. To present this class of
entertainment properly, it is unnecessary to
have stage glowing with color and radiant
with light. And then, too, there must he
constant action. 1t never does to let the ac-
ton of comic opera flag. The moment
that IS permitted the audience becomes list
less ana loses all interest in the perform
ance.
1t should always be borne in mind. too.
that ouriesque or farce comedy ocera are
built and good only for comedians. Even
the heroes and heroines, however Ioyeslck
they may be, are always, in reality, comic.
Take even LA Perichole," which may be
clasSed as the most sentimental and. to some
extent, serious of comic operas, and it will
be found that the loves of the two street
singers are treated in a harmonious vein
throughout, with just a soopeol of pathos
TO give them vital interest. No mere singer
can make success in comic opera. To be-
come such requires the continued
qualities Of a vocalist and comedian.
and unless these are preserved the
word failure is invariably written across
the artists work. There are not few such
cases on record and they will be repeated
until performers realiZe the fact that for
this speciat form Of entertainment the gift
of vocahsm alone will not secure success
The comic opera OF to-day has, in great
measure, taken the place of the old-time
burlesque and is builded on much the same
lines, although, of course, the plot is more
coherent and less bizarre and there is
greater continuity of musical expression.
because it is all from one composer, instead
of being selected from the works of many.
Probably the best evidence of a mans be-
lief In the success of an undertaking is to be
found in his abandonment of another TO
enter into it. So it was that when saw
the drift of popular feeling in favor of
comic opera that | abandoned the concert
room, aud subsequent events have shown
Inc tGat my Judgment was right. Comic
o,ers DleaseS all classes. It comes as a re-
liaf TO the lover Of classical music and it is a
sou &c of enjoyment to the person who goes
t he theater for bright and enlivening en-
Attachments. An evening spent in listen
D. & 10 a comic opera well sung, well acted
a d handsomely staged, is an evening made
~ OF many pleasures, and it is because of
tGis that the people patronize comic opera
and have made it source of profit to the
managers
Undoubtedly the greatest living COM
posers of comic opera at the present time
are Millocken, Audran, Chaisaigne, Suppe,
Johann Strauss and Sullivan. The works
of all of these have been heard in this
country; and have ali achieved success.
1t is a noteworthy fact, however. that the
two la ter, Strauss and Sir Arthur Sulli-
van, are now engaged in writing grand
operas, showing the true musicianly instinct
and quality that are necessary in the forma-
ton of q comic opera composer, VINO must
be not only an inventor Of melody and
harmony, but well versed in the higher at
tributes of musical composition.
RUDOLPH ARONSON.