The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1890-12-28
MANAGER Anoxsos's REASON.

The qualities to which the success OF
comic opera are due are mainly picturesque
ensembles and the correct distribution OF
parts in accordance with the original lines
and ideas of the composer. The eye, as
well as the senses, must be gratified. The
vast strides that have been made in the
improvement of stage adornment render
possible, now, decorative and spectacular
effects that were not possible in the earlier
DAYS of comic opera, or opera bouffe, as it
was then called. To present this class of
entertainment properly, it is necessary to
have q stage glowing with color and
radiant with light. And then, too, there
must be constant action. 1t never does to
let the action of a comic opera flag. The
moment that is permitted the audience
becomes listless and loses all interest In
the performance.
1t should always be borne in mind, too,
that burlesque or farce comedy operas are
built and good only for comedians. Even
the heroes and heroines, however loyesick,
they may be- are always, in reality, comic.
Take even ia Perichole" which may be
classed as the most sentimental and, to
some extent, serious of comic operas, and
it will be found that the lovers of the two
street singers are treated in harmoni-
Gus vein throughout with just suspicion
of pathos to give them vital interest. No
mere singer can make a success in comic
opera. To become such requires the con-
tinued qualities of vocalist and come
dian. and unless these are preserved the
word failure is invariably written across
the artists work. There are not few
such eases on record, and they will be re-
peated until performers realize the fact
that for this special form of entertain
ment the gift of vocalism alone will not
secure success. The comic opera of today
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 COM
poser, instead of being selected from the
works of many.
Probably the best evidence of a mans
belief 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
room, and subsequent events have shown
me that my judgment was right. Comic
opera pleases all classes. 1t comes as q
relief to the lover of classical music and it
is source of enjoyment to the person who
goes to the theater for bright and enliven-
ing entertainments. An evening spent in
listening to comic opera well sung, well
aCtcu aiiu hdiiuooittSly sba5cus ID I'll SNcIi-
ing made up of many pleasures, and it is
because of this 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 achieved success
1t is noteworthy fact, however, that
the two latter, Strauss and Sir Arthur Sui
livan, are now engaged in writing grand
operas, showing the true muscianly in
stinct and quality that are necessary in the
must be not only an inventor of melody
and harmony, but well versed in the higher
attributes of musical composition.
RUDOLPH ARoNsoN.