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


To me the secret of the success of comic
opera lies in the fact that it is bright, and
that is what the people go to the theater
to hear. Then, again, it is relief from
grand opera, and appeals to the millions.
Whatever does cannot fail to be sue
cessful, for it is the suffrage of the millions
that all artists and managers are catering
for. In England comic opera is as success
full as it is here, but there is considerable
difference in the character of the audi
ences. Our people are not so demonstrative
as the Americans, and an artist does not
meet with the same warm encouragement
as here Indeed, the Americans are, to
one, wonderful people. They have so
much push and energy, and the encourage
ment and sympathy they extend to an
artist makes it a delight to play for them.
Seeing and approaching this as do, it
was matter of considerable surprise to
me that Gilbert and Sullivan's opera, 1.-THE
Gondoliers," was q failure in this country,
whereas its success in London was SO great
that it still continues to crowd the Surrey
theater, which is the home of comic opera
in England. Yet it must be confessed that
the book is not up to Mr.. Gilbert's usual
standard, while the music by Sir Arthur
Sullivan is too often reminiscent. Not
only this, but i'll it he has not written for
the millions, and this is a fatal defect in
comic opera. Yet my countrymen here
ment does not hold good on either side of
the water however much it may be in
dorsed by public opinion here.
OF the English composers of comic opera
there are two who have not received the
recognition their merits deserve. | refer
to Edward Solomon and Alfred Collier.
The latter l regard as one of the cleverest
st ha Ha rlt,1S ipta of
rare artistic refinement and his music for
Grey's "Elegy in a Country Churchyard' is
one the most exquisitely beautiful compo-
sitions ever listened to. 1t is in the form
of a cantata. AS a composer of comic or
light opera he is also delightful. l should
have some experience in the matter for L
sang in his dorothy" for 800 perform
ances. The opera was great success in
England, although, like ''The Gondoliers,"
it did not meet with the same good fortune
here. Although comic opera has met with
great success in the old country, it is
rather curious fact that there is a
great scarcity of English prima donnas in
that particular branch OF entertainment
They are almost all Americans, two of the
most noted being Miss Geraldine Ulmer
and Irene Danyille, whose great popularity
has been richly deserved.
Why does not some American composer
write comic opera on some active subject.
have seen the statement made IN print
somewhere, that American history does
not lend itself to the purpose, but this is
refuted by the great success of Paul
Jones" in London, in which the clever
American artist, Miss Agness Huntington,
has achieved so much fame. There is not
a more amusing burlesque in the English
language than John Brougham's "Poca-
hontas, ;" and following the story on the
same lines it surely could be converted
into capital comic opera. You, George
Bristow once wrote an opera on the sub
ject of RIP Van Wrinkle" and some OF its
music that have heard is delicious. The
story of Pocahontas, with good book and
catchy music, should make an even better
subject, for it would afford an opportunity
for spectacular as well as musical and
comedy effects. I should like nothing
better than to appear as la belle savage.
MARIE TEMPEST.