Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-03-01
THE MUSIC WORLD.
Two Genuine Comedy Operas Reveal
the Weakness of the Usual
Spectacular Farces and
MARIE TEMPEST'S STRENGTH.
The Amusing Possibilities of 0ratorio in
Costume Rival the MediaYal
Miracle Plays.
MARIE TEMPESpS STRENGTH.
GOSSIP FROM LOND0N'S F0YERS
News and Comment Of General Musical Interest Pun
gently Parsgrsphed.

The week of light opera at the Grand
Opera House by the Duff troupe has been
exceptionally meritorious both as to matter
and manner. 1t is pity that such names
as Francis Wilson, De Wolf Hopper, Aron-
son or "Casino" should be able to draw to
their farcical and spectacular shows consid-
erably larger houses in Pittsburg than we're
present last week to hear these legitimate
comedy-opera performances.
The Red Hussar" is by no means great
or profoundly original work, but it is an
exceptionally pleasing specimen Of its class.
Mr.. Edward Solomon here shows In many
ways decided improvement over his earlier
success, "Billee Taylor" There is more
musical pabulum in the first act
of the "Hussar" than in the whole Of
Paul Jones'" 10 cite glaring instance
of misplaced popularity. Solomon's work
mauship in general is good; there are we'll
constructed ensembles and broadly written
choruses that bespeak the craftsman's hand.
The duet, "How dye Do" is an exceed
ingly happy effort both in conception and
execution, quite worthy o Gilbert and Sulli-
van at their best Excepting the regimental
song, STEADY, Boys, Steady" however,
there is lack of melodic invention and
spontaneity that reveals Solomon's chief de-
fciency Tor this form of composition.
Right here is one of the leading qualities
in which Alfred Celiler's Dorothy sur
passes the former work. Dorothy" is full
of graceful, fluent melody. 1t has, more
over, the great merit of individuality; there
is a certain demure, pastoral character,
which the composer has succeeded in main
tanning admirably throughout the score. 1t is
very English, this opera-like its pretty,
old-fashloned name-and what could be
pleasanter in such a work than that same
rural anglicism? Cellier's scoring is espe-
cially clever and dainty. nor are there lack
ing many instances of good musiclanship in
concerted work and fnales.
The performance of this troupe deserves
particular credit for keeping pretty faith
fully to the book and score and within the lie.
gitimate bounds respectable musical COM
edy. That is great point in these degener-
ate DAYS. The very unusual size and eff
hciencv OF the chorus too, merits cordial
recognition. Conductor Julian Edward and
the local players dis about all that could be
expected with the score under the present
system Of no rehearsals and every man for
himself
Miss Marie Tempest is certainly one of the
best comic opera singers on the stage to-day.
She, too, has the great merit of individual
Ity; her methods are refined, but sure, and
she speedily captures her audience without
having to stoop to it. Miss Tempest sings
remarkably well, moreover; her voice, while
not large, is distinctly pleasing in quality
and is under good control. Mr.. Bassett
after his grand opera experience found this
music like chlld's play and thereby gained
an ease and freedom in both singing and
acting which in harder roles he frequently
lacked. Most of his work was thoroughly
admirable of the kind. Miss Snyder and
Mir. Mclaughlin did some fairly good sing
ing, while Mr.. John A Mackay was ex.
ceedingly funny and original along the low
comedy line.