OPERAS THAT LIVE.

New Zealand Herald, Volume LXIII, Issue 19419, 30 August 1926, Page 12

OPERAS THAT LIVE.

GILBERT AND SULLIVAN. MR. SLAPOFFSKI'S MEMORIES. GROSSMITH AS " THE SORCERER." As a pupil and protege of Sir Arthur Sullivan and an intimate Wend of the two famous collaborators, Gilbert and Sullivan, there is'no one perhaps with a greater understanding and appreciation of their works than Mr. Gustavo Slapoffski. the musical conductor. / Mr. Slapoffski's genius with the baton has earned him a host of admirers among theatre-goers in Australia and New Zealand during the 26 years he has been visiting these shores. "My early association with Sir Arthur Sullivan as a pupil has caused it to be a labour of love to direct the music of Gilbert and Sullivan operas," Mr. Slap-" offski said. "There is no doubt that after nearly half a century the Gilbert and Sullivan works are mo re popular than ever. This is no doubt due to their musical and literary value. One might call Sullivan the modern Mozart. To musical students the works are invaluable, show-, ing as they do the most profound musical science applied to the entertainment of either the musician or the layman. JThe political allusions and witticisms are ap-' plicable evqii to this date."' "When wo consider what the .advent, of moduli musical comedy and the jazz idiom has meant to the general trend of the public taste, we have also to consider that the value of the works of Gilbert and Sullivan is assuming to-day even greater importance than ever," he,said. "Naturally an audience does not realise the enormous task involved in producing these classics of comic opera. The firm of J. C. Williamson, Ltd., is fortunate in having on its staff Miss Minnie Everett, quite a remarkable woman. The precision, alertness and never-flagging brightness of the whole stage business are greatly owing to the talent, knowledge and enthusiasm of this lady. Sir Augustus Harris, the far-famed director of Cov.ent Garden and Drury Lane Theatres, had associated with him in his great productions two extremely clever stage direc- f tresses—Katti Lanner, whose school of dramatic action and dancing in London was probably one of the most important in the world, and Malvina Cavalazzji. Minnie Everett is,, quite worthy of being bracketed with these two celebrities."

Speaking of the costuming of the opefas, Mr- Slapoffski recounted a humorous incident that happened' many years ago ,in connection with the first.opera produced by Gilbert and Sullivan—"The Sorcerer." The collaborators, after having had great difficulty in choosing an ai'tist for the somewhat peculiar part of John Welling-, ton Wells ("The Sorcerer") had succeeded in finding George Grossmith, whose attainments seemed to fulfill exactly their' intentions. The difficulty of the part arose. One morning Grossmitli went to Sir Arthur Sullivan's chambers to r interview the two, and he wore a very culfar little bell-topper and what in those days was called an Albert coat, and plaid trousers. The moment lie set eyes on him Gilbert remarked "He's got 'em on.'' Dressed ' as he ivas, with his funny little face adorned with, side whiskers, - Grossmith was as unlike a sorcerer .as any--thing cfliild be-.' On'his appearaiicq on. the first night a"memorable roar of laughter, went-up from the audience. One- could not imagine anything' funnier.