THE ROYAL COMIC OPERA COMPANY.

Auckland Star, Volume XXIII, Issue 218, 13 September 1892, Page 2

THE ROYAL COMIC OPERA COMPANY.

"THE GONDOLIERS."

hi Gondoliers," the last of the brilliant ce cf Savoy operas by Messrs Gilbert -Sullivan, which is to be produced fhe firsb timo in Auckland by iKoyal Comic Opera Company at Houso on Thursday evening . is fully entitled io tako rank the beet of its predecessors. In its' ,', sunny humour, in its melody, in its :-ianly feeling, and in its capacity for taining, it certainly is equal to "The do." Tho Gilberbof "The Gondoliers" _ Gilbert/ of " Engaged," tho prince of jy-burvoydom. Thia witty writer has , back fco his earlier, and, from a public b of view at any rate, his mosb successnannor. He has abandoned anything a serious plot, and, turning his attcnonce more to fun, pnro and simple, ho provided Sir Arthur Sullivan with a i'atbo which teems wifch amusement and it opportunity for happy treatment. Ji'or have author and composer been seen ▼ greater advantage than in thoir final "it production. Sir Arthur Sullivan has '". lib tho exact spirit of Mr W. S. Gili humour, and illustrated it by some -ne mosb tuneful compositions which havo -r boon heard in comic opera. Tho bortian humour is nob easily understood flii'sb, bub, forbunatoly, tho play-going J_~>lio_throughoub the world is acquainted /ih its nature. With its quaint con-

/%ifcs, its clover "quips and cranks," /'! stands alono. Ib originated wibh / tils gifted author, and, so far, Mr Gil-lei-b has nob boun approached by any other niter in tho satno field. In tho present (ate, author and composer havo reserved Jbeir best efforts for tho second of tho two pts. Tho wholo piece bubbles with mirth md melody, bub its gems aro in tho second let. Mr Gilbert takes great pains in laying Ihe foundation of his story. So soon, hewivor, as fchafc ia started and understood, this rrcab humorist givos himself full play[lo revols in ingenious paradox and comic "■Amplication. Best of all, ho never offends. Even tbab sensitive creature of Mr Gilbert's own imagination, fcho " young lady of fifteen," might witness " The Gondoliers " without so much as a blush. It gladdens tho heart and invigorates tho senses. Tho libretto is a delight in itsolf, bub, allied as it is to gracoful, flowing, " cafcchy " music, ib forma an ontertainment which sparklos and satisfies, which can be witnessed by the ordinary amusement-seeker and the lovor of light, vivacious music, with pleasure and profit to both. The treatmont, rather than the story, is of first importance in a Gilberb-Sullivan opera. Ib will be readily admitted thab MiGilbert's conspicuous ability has nover boon , moro disbincbly shown bhan in "Tho Gondoliers." lleturning to his old devices, ho has invented another plot, and another sot of poreonayes, on the familiar plan of turning things inside out. He takes us, in bho first act, to Venice, in bho middle of bho eighteenth century. Tho prettily-dressed I chorus of contadino aro discovered binding posies of red and whito rosies. This first ; number is remarkable for ita gaiety. The heroes of tho opera, fcwo gondolier.-, Marco and Guiseppo Falmieri, presently appear. Those picturesque and much - favoured young mon, beloved of all the girls, are about to take unto them wives. Thoir method of procedure is curious, and in truo Gilbertian style. They are blindfolded, but, artfully enough, these admired gondoliers are secured by two merry maidons, Gianotta and Tessa. Tho music, so far, is light and characteristic. Tho fun of fche situation is capitally carried oub, while the I graceful dueb for Marco and Guiseppe is of the barcarolle order. The gondoliers and ' thoir sweethearts dance oil', to a gay '■ measure, for the wedding ceremony. Thoy 1 are followed by the entrance of bho Duko 9 of Plaza-Toro, an impoverished Spanish ; grandee, the Duchess, and their daughter, i Casilda. Their " suite" consists of one ■ attendant, Luiz. The dialogue which succeeds is exceedingly clever. The Duko desired an entry in state, but his funds would nob allow evon a halberdier, much less a brass band._ "The band are sordid persons, who require to be ; paid in actvanco." " Bub surely thoy know his Grace?" asks bhe Duchess. "Exactly —thoy know his Grace," is the significant reply of the " suite." The penniless nobleman has como on a visit bo bho Grand Inquisitor, wibh whom reposes an imporbanfc secret. Casilda, ib eeems, has been married v/hon a child to the infant son of the King of Barataria. She is now of ago, and hor husband is entibled to reign over rich dominions. The only difficulty is bho identification of the monarch. The Grand Inquisitor undertakes to settle that. The King of Barataria is no other than ono of the two gondoliers—Marco and Guiseppe. But which one? "There's fcho rub." The brothers have been hopelessly mixed up from their birth. No one can tell " b'obhor from which." Moreover, tho gondoliers aro red-hob republicans. They hate kings, thab is until they espy a chance for bho throne for bhemselvcs. Thoir conversion is ono of tho besb things in the " book," and ib ia sob to some fascinating music. It is necossary bhab the King should appear in person in his kingdom, and so tho bwo gondoliers starb oil', in a gorgeous galley, for tho island of Barabariu, where bhey aie fco reign asi one man—two individuals but only ono king. The fun thus commenced, ifc will be readily realised thab ib afterwards becomes most pronounced. Ib is a good idoa to extract laughter from the republican sentiments of Marco and Guiseppo, who are king in name only, for they aro placed on exactly tho same level as their own .subjects. The rnßulb is that "everyone is somebody, and no ono is anybody. This facb does not prevent cur friends from being particularly happy. They indulge in pleasant songs and nimble dances, and" taken altogether, thoy seem to lead a joyous existence in Barataria. It is not Jiecessary tor us to detail the complications of the plot. The " entangled situation " may be gathered from a brief extract from the dialogue : " One of us is married to two young ladios, and nobody knows which; and bhe other is married to one young lady whom nobody can identify." " And one of us is married to one of you, and fche other is married to nobody." " But which of you is . married to which of us, and what's to be- - come of the other?" How this situation is • i arrived afc, and how ifc is " combed oub," wo must leavo our readers to see for themselves. The plot is as interesbing as ib is ingoniou., and ib is carried through without taxing fche spectator too greatly. Mr Gilbert has done nothing which surpasses " Tho Gondoliers ' either in cleverness of story and characterisation, or in brilliant, witty dialogue. The entire book bears witness to his markod ability as a humorist, who is absolutely unequalled in his own line. If wo were fco enumerate all tho successful songs in thia bright, fanciful comic opera, we would have to give a very lengthy list indeod. Wo will content ourselves with merely pointing out bhose which, as rendered )_y Mr J. C. Williamson's excellent company, aro best liked. The Duke of Plaza, Toro's mock military song, " In Enterprise of Martial Kind," may be commended. Ib has for a fellow, the Grand Inquisitor's "I Stole the Prince," a quaint and effective composition. "When a Merry Maiden Marries," is a piquanb melody, daintily orchestrated. Gianetta's "Kind Sir, You Cannob Have the Hearb," is also prebty. • The animated, joyous quarbebbe, "Then One of us will be a Queen," is full of vivacity, and the finale to the firsb act is highly effective Oho of the sweetest airs in fche opera is the duet between Casilda and Luiz iii this net, "Dead a.the Last Year's Leaves." It is the only moment in the opera when there is a touch of sadness. Save fcr the plaintive; grace of this duet, there is not another note of sadness in the opera. All me ib vinshine. mirth, -id ,'ollity. A

noticeable song in the second acb is Guisoppe's description of the joys of "Republican Equality," whilst the beautiful melody of Marco's " Take a Pair of Sparkling Eyes," should be mentioned. A cachuca, fcho music of which, with its castaneb accompaniment, is thoroughly Spanish in character, ia ono of the mosb prominent hits in bhe piece. Ib is lively and entertaining to a degree, and, as s'iven by this company, fcho local colour is by no means confined to fche muaic. The charming dresses help ifc wonderfully, and the spirits of all concerned, together with good dancing, materially aid in placing ib on bho pinnacle of success. Another remarkable hit is made by the clever and attractive quartette,. "In a Contemplative Fashion," which is in it-elf ono of tho most noteworthy compositions in the pioco. Tho quintette, "I am a Courtier Gravo and Serious," in gavotte measure, is also very happy. Tho excellent finale with its recurrence of the*catching cachuca, biinga to a conclusion as praiseworthy and enjoyablo an opera as Messrs Gilborb and Sullivan havo over joined in producing. Tho wood wind, ifc should bo noted, is pleasantly prominent in "Tho Gondoliers." "Tho Gondoliers," it may bo added, was first produced afc tho Savory Theatre London, on December 7th, 1889, wifch fcho following cast of principals : —Tho Duko of Plaza-Toro, Mr Frank Wyabb ; Luiz, Mr W. Brownslow ; Bon Alhambra, Mr W. 11. Donny; Marco Palmiori, Mr Court/ice Pounds; Guiseppo Palmier!, Mr Rutland Harrington; Tho Duchess, Miss Rosio Brandrum : Casilda, Miss Docima Mooro ; Giauobfca, Miss Geraldino Uhlmar; and Tessa. Miss .lossio Bond. In Mr Williamson's production, Mr Goorgo Lutiri is Tho Duke, Mr Howard Vernon plays the Grand Inquisitor, Mr Henry Bracy ia the Marco, Mr Sydney Deane fcho Guiseppe, Miss Flora Giaupnor tho Gianetta, and Mias Violet Varloy the Tessa. j