The Marion daily mirror. (Marion, Ohio) 1892-1912, 1909-12-28
sy GEORGE \. PICARD.

lNoW aork Drematio Correspondentl
b for no other reason the year 1909
has been remarkable for the re-
vival and repopularizinS Of opera
\ - bouffe. which had long been neg
iected and almost forgotten In It's nor
NAL form. 1t Is indeed true that the
opera bouffe idea still survived and
hourished. but in form so modified
from the original inception and so de-
generate In Its manifold variations that
1T would have been unrecognized by
the devotee of Lecocq Offenbach, Au-
dram and all the merry others of the
: last generation.
Forty years ago opera bouffe-the
J genuine article--was at its apogee in
america. In all the cities OF the land
the tuneful and care dispelling arias
and choruses OF la Grande Duchesse."
''Barbe Bleue," La File 1e Madame
Angot," La Mascotte." La Belle Hell
enc" and a dozen similar works were
common property. The ragtime craze
had not yet assumed its subsequent
virulent type, and even the great un-
musical public seemed content. IL II
could not digest readily the correct
harmonies of the men who combined
speech and song so adroitly 1t could at
least appreciate the never tagging jol-
nty OF everything. and IT did
Then came the decline. How IL hap
pened no one seems to know precisely.
With the passing of such consummatc
artists as Judic, Theo and our own in
comparable Alice oates opera bouffe
languished Fov one thing. It was made
apparent that the makers of this spe-
cies of opera had set the standard so
high that II was attainable only by
composers and artists Of grand opera
calibcr. To become q successful opera
bouffe prlma donna demanded a voice
and a method quite as exceptional as
was required of the interpreter of Lu-
cia and all the other old time fearful
heroines. Most important of all was
the fact that it was essential that an
opera bouf singer should know how
TO act. Failure to meet this require
ment may be condoned in one who cs-
says a tragic role. The splendor of her
vocal equipment may make all else of
little moment
Not so with her sister of the merry
roulsde and sparkling dialogue. II is
not enough for her to be the mistress
Of n ravishing voice. "A perfect art or
even Of a wealth of pcrst nal charm.
She cannot become the undisputed
queen of opera boufre without the ca
pacity to act-and vcll little Won
der that the cxactions Of such career
have limited the number of those who
have embraced II successfully, Less
wonder that the difficulties in the way
of exploitation have dulled the inspi-
'aticn of the compC 'rs and have popu-
lariz"d the cheap substitutes furnished
by the so called musical plays.
And now II is being demonstrated
that the appreciation for high class
opera bouffe has not been eraccd; that
II has orly been slumhering and await
ing the touch OF a rejuvenating and up
building hand. AS careful an observe
of the public pulse as oscar Hammer
stein came to this conclusion many
months ago, To make conviction douhly
sure he began last season to expert
ment. at his Manhattan Opera House.
with Offenbach's delicious "Tules of
Hoffman," II proved to be the most
popular novelty of the season. When
ever II was sung the house was crowd
ed with enthusiastic admirers OF the
exquisite "Barcarolle" and abundant
catchy melodies
In the success Of his primary venture
the impresario forcsaw the revival Of
opera boufte. and his business Instinct
prompted him to be foremost In it's