OPERA’S LURE

Lake Wakatip Mail, Issue 3996, 21 April 1931, Page 2

OPERA’S LURE

WHEN GILBERT WROTE It was in 1885 when Gilbert and Sullivan’s famous opera ‘ The Mikado ’ hist captured the hearts of London people. Other successes followed swiftly, among them ‘The Gondoliers.’ ‘ The ‘ Yeoman of the Guards,’ and 1 Ruddigore,’ says the, Melbourne • Age.’ It is to the bards and mPnstrels of early Britain that we owe the birth of light opera in England. Companies of these wandering poets, made immortal by the eloquence ol Scott, joined in little bands and supervised pagents and masques. Maybe it is also to them that Gilbert and Sullivan owe the original theme of ‘ Ruddigore ’ or the fantastic story of ‘ lolauthe.’ Nevertheless, from these fancy dress parades was evolved the ballad opera, and later on the burlesque; but with the invasion of Offenbach’s French opera bouffe, which came to London in the latter half of the nineteenth century. the ballad opera disappeared, due to the strain of competition. Burlesque, then, borrowing certain Continental aspects, vied fairly successfully for a while with Offenbach and his successors, Lecocq and Blanquette. And it was- then that Gilbert and Sullivan rose w» defence of English operetta i hey created together a special type of comic opera, which possessed the linost wit, satire, and stagecraft, combined with the high comedy of burlesque, that theatrical audiences had over known.

Its music caught the brilliance of opera houffe, 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 all audiences. The triumphs of Nellie Stewart during her Australian tour are echoing still in the minds of theatrelovers Strella Wilson, Patti Russell, and James Hay are names that will also create an atmosphere of vivid recollection. Would it. be possible to forget Charles Walenn? His patheticinterpretation of Jack Point’s ‘ 1 Have a Song to Sing O ’ went hand in 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 someone essayed the story ot the little tomtit, if not in a hoarse male baritone, then in a husky, sweet contralto. And ever and anon the poor little bird answered in the self-same notes.

Sir Henry Lytton. a famous English actor, who tilled many roles in light opera in 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 Duke ot 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 son]) boxes. All was in order, the gondola safely arranged on the stage in preparation for the entrance of the duke. The duke then entered, and the gondola collapsed. The 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. Ail 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. mister!”

Many were the trials, the handicaps, and the misfortunes that befell the members of the various companies, but the operas still won through.