The morning news. [volume] (Savannah, Ga.) 1887-1900, 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 it is what the people go to the theatre
to hear. Then again it is relief from
grand opera and appeals to the millions.
Whatever does cannot fail to be successful,
for it is the suffrage of the millions that all
artists and managers are catering for. In
England comic opera is as successful as it is
here, but there is considerable difference in
the character Of the audiences. Our people
are not so demonstrative as the Americans,
and an artist does not meet with the same
encouragement as here Indeed, the Ameri-
cans are, to one, wonderful people. They
have so much push and energy, aud the en-
couragement and sympathy they extend to
an artist makes it delight to play for them,
Seeing and approaching this as | do, it
was a matter of considerable surprise to me
that Gilbert and Sullivan's opera, The
Gondoliers," was 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 in it he has not written for the
millions, and this is fatal defect in comic
opera. Yet my couutrymen here liked and
appauded it, and 50 my argument does
not hold good on either side of the water,
however much 1T may be Endorsed by public
opinion here.
OF the e glish composers OF comic opera
there are two who have not received the re-
cogpition their merits deserve. | refer to
Edward Solomon and Alfred C9llier. The
latter regard as one Of the cleverest men
of the country. He is a musician of rare
artistic refinement and hi music for Grey's
ssElegy in Country Churchyard" is one Of
the most exqulsitely beautiful compositions
/ ever listened TO- 1t is in the form of a
cantara. AS composer OF comic
or light opera he is also delightful.
should have some experience
in the matter for l sang In
his dorothy" for 500 performances. The
opera was a great success n EngIand, al
though. like ''The Gondoliers," 1t did not
meet wit the same good fortune mere. Al
though comic opera has met with great
success in the old country, it is rather
curious fact that there is there a great
scarcity of English prima donnas IN that
particular branch Of entertainment. Ihey
are almost all Americans, two OF the most
noted being Miss Geraldine Timer ana
Irene Danville, whose great popularity mas
been richly deserved.
Why does not some American composer
write a comic opera on some acIlVe suoJeco :
I have seen the statement made In PRINT
somewhere that American history. does no9
lend itself to the purpose, put TINS IS relg'?u
bv the great SUCCESS Of paul Jones" IN
london In which the clever American art
ist. Miss Agnes Huntington, mas achieved
80 .S'' ,,,ch fame. There is not a more anus
inc burlesque in the English language than
To5n Rrouqham's "Pocahontas," and follow
nc MT The story on the same lines it, surely,
LID he converted into a capital comic
onera. Your George Bristow once wrote an n
opera on the subject of RIP Van Wlnkis'
and some Of its music that have nearq 10
dalicions The story of Pocahontas. with
e.on6 book and catchy music, should make
eoV sre e better subject, for it wonld afford
an opportunity for spectacular as well as, as
musical and comedy effects. l should NE
nothing better than to appear as 10 Dehe
savage. --AI'A