The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1890-12-28

has eliminated the music. In the Father
land the music is one of the principal feat
ures OF the entertainment. 1t is not neces-
sar1iy original, but is selected from differ
ent operas, as was the case in the bur-
lesques of blanche, Byron, Brougham
and the others who used to write genuine
6uriesque before the modern variety show
form OF burlesque was introduced. But
90 not believe that any one could endure
SIX consecutive nights of musical comedy
any more than they could of grand opera.
1t is just here that comic opera finds its
place; happy medium between the two,
out their draw backs. 1t has original
music and bright dialogue to connect the
different numbers, SO that not only the
musical but the dramatic sense of the
nearer Is appealed to, and, above all, the
performance, if properly conducted, does
not last longer than two and half or
audience is not wearied. Comic opera is
much better thing to the average man
than grand opera, because he can whistle
the music, and it makes his home brighter
ana happier, except perhaps, when he
whistles the "Erminie Waltz" and then
there may be strained relations iii the
family circle. Besides this, the music
of comic oper is, as rule, SO
simple that fairly good amateur
musician can play whole opera
through with one finger. 1t is the COM
bination of these factors that brings about
the success of comic opera. 1t is essen
tally the entertainment of the masses,
ana, Just as Beranger was willing to make
the laws so long as he was permitted to
write the songs of the people, just so do
the writers and singers of comic opera feel
that in their work they are voicing popu-
lar sentiment.
have sometimes been asked as to the
comparative merit of comic opera perform
ances in this country and in Europe. My
principal observations abroad have been at
the Frederick Wilhelmstadt, in Berlin,
and the Carl Theater and Theater un der
Wien, Vienna. These three may be re-
garded as the homes of comic opera in
German-speaking Europe, and the per-
formances at each are of a very high order
OF merit. The scenery is much more elab-
crate than in any of the productions
l have seen here, but the costumes
are infinitely inferior to those in
this country and would hardly be tolerated
in third or fourth rate American show.
This Is largely accounted for by. the fact
that the principals all supply their own
costumes, and when the fact is taken into
consideration that the salary of comic
opera prima donna amounts to very little
more than the salary of a march leader
here, it will readily be understood that
there is not very large balance left for
wardrobe. But the German people would
rather have fine artists than fine costumes
and SO theta of compensation is satisfied.
The great excellence of the singers at the
three theaters have mentioned. is largely
due to the stock company system
which prevails at each. The artists
of these companies find steady en-
ployment from one years end to
the other, and constantly singing and act
ing together, they learn each others quail
tiles and play into each others hands,
so that to witness performance by them
is like looking at the working of some
delicate piece of machinery, in which
every part is perfect and accomplishes its
duty in making the absolute harmony of
the whole. Comic opera is making. steady
strides towards improvement in this
country, and it is only just to say that
good deal Gifts perfection is due to Colonel
John A. McCaull, who was the first to in
augurate the system of producing it as
carefully in the small as in the larger
cities, thus adding to its general popular
ity. To sum up, comic opera succeeds be-
cause it supplies public want.
MATHILDE CoTTRELLY.