Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1892-08-21
A Chance in Light Opera.


There is too much writing of symphonies,
concertos and suites nowadays by over
ambitious composers whose talents would
find proper exercise and much more ap-
probation in writing something lighter and
less formal and writing it we'll 1t looks
now as though there might be chance for
ome of these Jealous, studious young COM
posers to turn to the light opera field, with
some rope OF meeting worthy success.
There are signs of decadence about the
so-called comic operas, with their topical
songs, local gags and Amazon marches, that
have held the boards so long to the exciu-
sion of anything really deserving the name
OF opera. DeKoven's "Robin Hood" as
played by the Bostonians, Marie Tempest's
Legitimate comedy opera successes. and
Kelley's "Puritania" run are straws that
show how the public welcomes the day OF
better things.
Mr.. Kelley's great success is particularly
encouraging. With a company of such
people as Pauline Hall, Louise Beaudet
and Fred Solomon, all identified with the
lower kind of 'comic opera" mis- "Puri-
tania" Is nearing the 18th night of its run
at the fremont Theater, Boston. Beside
this proof OF the popular hit, place what is
said by the critics, as represented BY Mr.
f. II. jerks in the Boston Musical Herald
this month:
Let us now consider the music which has
commanded high admiration from connois-
seurs of cultivated taste and ripe Judgment,
and which has also nightly pleased those
amateurs who make no pre- ense to critical
acumen. 1t is no mean triumph, this satis-
faction of all classes OF music lovers and il
is largely causeu by these characteristics in
MIR. kelley's musc Brightness-There is not
a dull moment in tho work; captivating
hythm-Otfenbach could not be more
persuasive: clearly formed Misunderstanding
Sullivan might well be envious-and ex-
pressive of the sense of the words, as we'll
The orchestral coloring has the ingenuity,
e1pressivencsS, piquancy and economy that
are Distinguishing. characteristics of the
modern French school; and the composer
shows fine technical skill in so deploying
the forces at his command as 10 give
to the ear the Impression OF
mighty host. Whether the modulation be
into u nearly related or into q remote key,
the nearer does not feel that it is common
place or is strained. faculty in imita-
ton, canon and development is here and
there display Ell, but with no air of pedantry,
these scholarly attainments being brought
prevents their exhibitions from being de-
tected ut a first hearing. The portions as
signed to voices have cons ant vocal quail
10, by no means the least praiseworthy
feature or the optretta
The catalogue OF good points in this little
masterpiece could be easily extended
Whatever blemisnes there are In the music,
they are SO few and so brief-having in mind
the purpose and the character of the oper-
etta-that they may be easily passed as
though they were not in evidence. Taken
as Il Whole, "Puritana" may be honestly de-
ciared the best effort in comic opera
that an American composer has yet
offered for Judgment in Boston. More
than that 1t is better, infinitely better,
as musical work, than all the
clutter that mas come to US from Millocker,
Jacobowski and Strauss. despite the finan.
cial success that has at tended ventures with
operas by these composers. Respectful con.
sideration is due to "Puritania" for its free
dsm from vocal waltzes. topical songs and