OPERA'S LURE

Evening Post, Volume CXI, Issue 74, 28 March 1931, Page 20

OPERA'S LURE

It ,was in ISSS when Gilbert and Sullivan's famous opera, "The Mikado," first captured the hearts of London people. Other successes followed swiftly, among them "The Gondoliers," "The Yeoman of the Guard," and "Ruddigore," says tho Melbourne "Age." It is to tho bards and minstrels of early Britain that we owe the birth of light opera in England. Companies of these wandering poets, mado immortal by the eloquence of Scott, joined in little bands and supervised pageants and masques. Maybe it is also to them that Gilbert and Sullivan owo tho original theme of "Uuddigorc" or the fantastic story of "lolanthe." Nevertheless, from these fancy dross parades was evolved the batfad opera, and latdr on the burlesque, but with tho invasion of Offenbach's French opera bouffe, which came to London in.the latter half of the nineteenth century, the ballad opera disappeared, duo to the strain of competition. Burlesque, theu, borrowing certain Continental aspects, vied fairly successfully i:or a 'while with Offenbach and his successors, Lecocq and Blanquette. And it was then that Gilbert and Sullivan rose in defence of. English operetta. They created together a special type of comic opera, which possessed the finest wit, satire, and stagecraft, , combined with the high comedy of burlesque, Jhat theatrical audiences had. ever known. Its music caught the brilliance of opera bouffe, and. yet retained, the alluring melodiousness of ballad opera. Sullivan displayed a wealth of orchestral colour, resource, and humour that brought a wave of admiration from the Continent. "The Mikado" and "The Yeoman" were always rivals 'for, favour. Their brilliant dialogue and the sparkle of their songs live in the memory of Sill audiences. The triumphs of Nellie Stewart during her Australian tour are echoing still in the minds of theatre-lovers.

WHEN- GILBERT WROTE

Strolla Wilson, Patti Eussell, and James Hay are names that will also create an atmosphere of vivid recollection. Would it be possible to forget Charles Walenn? His pathetic interpretation of Jack Point's "I Have a Song to Sing O" went hand iv hand with that delightful little ditty,'" "Willow, Tit Willow!" Both his impersonations were masterpieces. After the first mighty success of "The Mikado," "Tit Willow" was the only song heard in London; From every kerb and roadway, from each doorway/and rambling meadow, somcono essayed the story of the little tomtit, if not iv a hoarse male, baritone, then in a husky, sweet contralto. And ever and anon tho poor little bird answered in the self-same notes. Sir Henry Lytton, a famous English actor, who filled many roles, in light opera iv, London, has told some amusing stories of the wit of Sir William Gilbert, and funny anecdotes relating to his own adventures while touring. Once, when the . company was to open with "The Gondoliers," Sir Henry Lytton, who was impersonating the puke of Plaza Toro, >and the remainder of the cast suddenly discovered that the gondola had been lost in transit. Hastily they erected a perfect imitation, made of soap boxes. All was in order, the gondola safely arranged on the stage in preparation for the entrance of the duke. The dul:e thon entered, and the gondola collapsed". Tho only thing that entered Sir Henry Lytton's mind was the idea of swimming. So he swam for dear life' and saved the lives of his duchess, his daughter, and his drum. All went well; no one in the audience thought that there was anything amiss until a caustic voice from the gallery exclaimed, "You ain't very wet, mis"ted" Many were the trials, the handicaps, and the misfortunes that befell the members of the various companies, but the operas still won through.