The Stark County Democrat

They Have Just Brought Out New Opera-Are They Plagiarists?

That famous comic opera-literary-musical copartnership acting under the firm name of Gilbert & Sullivan has scored another success in their latest production, the "Gondoliers or the King of Barataria," It was produced at the Savoy theatre, in London, early in December. The piece, both as to play and music, has been very favorably criticised. Doubtless it will soon be produced in America.

When Gilbert and Sullivan appeared before the public as claimants for attention as comic opera writers Offenbach was the zenith star. He had produced a great number of burlesques, which were so familiar to the people of all nations that one might hear the popular airs in them whistled on the streets of any city in the world. Mme. Aimée was the great medium through which Offenbach's operas became familiar to the American people. The operas were Frenchy and so was Aimée. The two went well together. As the dialogue was in a language that few Americans could understand, the operas were not very objectionable. At any rate they took amazingly.

But there was nothing either English or American in Offenbach's operas. The public had become in a measure saturated with them when a little cloud, no bigger than a man's hand, appeared, which was destined to obscure Offenbach and drive him out in America almost altogether. "H. M. S. Pinafore," a new comic opera, was put on the boards. It was written by Arthur Sullivan and W. S. Gilbert, the latter having published some time before the "Bab Ballads," a work which showed considerable ability in the comic line.

"Pinafore" was English to the core. The music, the words, the action were each remarkable and together produced a gem. Besides, there was in it a most delightful satire on the chief lord of the admiralty of the British navy.

There was something prairie fire like in the way "Pinafore" took. To have heard it once was nothing. Almost every one heard it half a dozen times, and many people could say that they had listened to from ten to fifteen representations of it. It was the beginning of a new school, and so excellent in all its parts that it seemed that the public would never grow tired of it.

Then came the "Pirates of Penzance" from the same brains. The novelty was not there, of course; that was all in "Pinafore," but the public was ready for more, and "The Pirates" was a success. As Oscar Wilde was at that time exciting the attention of the people of London, and the next opera Gilbert and Sullivan produced was "Patience," a satire on Wilde and his followers. It contained a great number of very pretty airs, and the music, though not so inspiriting as that of "Pinafore," was very refined. It had an excellent run.

Since then the partners have been bringing out operas almost without limit. The "Princess Ida" was based on Tennyson's poem of the "Princess," which, something of a satire in itself, gave a favorable opportunity for a Gilbert & Sullivan combination. Since the "Princess" there has come out "The Mikado," "Ruddigore," "The Golden Legend" and others.

Gilbert & Sullivan certainly deserve the thanks of England and America, for the recreation and amusement they have afforded these two hard working peoples has been a wonderful relief and enjoyment. Sullivan has meanwhile been permitted to write "Sir" before his name.

In the London cast which brings out "The Gondoliers" is a charming songstress, Geraldine Ulmar, who for several years delighted so many Americans by her voice and rendition of different characters. Meanwhile there is an expectancy in America to hear the last production, and the American public are not likely to be disappointed in anything the famous duo do.

It should be stated that Mr. Octavus Cohen, of The Charleston World, claims that he furnished the real inspiration to the authors for the latest opera. He says that he sent a synopsis of the libretto of an opera by himself, entitled "Niatrici," to Sir Arthur Sullivan, asking the composer if he would write the music. Sir Arthur declined, but, from what Mr. Cohen believes to be the nature of the new opera, appropriated many of the ideas in the "Gondoliers." So firmly convinced is Mr. Cohen that this is so that he says he intends to do all he can to prevent the presentation of the "Gondoliers" in America.