This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 edition. Excerpt: ... chapter vii the comic opera period We have now to discuss that phase of art in which, it is frankly admitted, Sullivan reigned supreme, and sat upon a throne of his own making. Before his coming, a comic opera of native origin was a thing almost unknown, and such works of the kind as found favour with ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 edition. Excerpt: ... chapter vii the comic opera period We have now to discuss that phase of art in which, it is frankly admitted, Sullivan reigned supreme, and sat upon a throne of his own making. Before his coming, a comic opera of native origin was a thing almost unknown, and such works of the kind as found favour with the public were imported from France. Offenbach had set the town ringing with the strains of "The Grand Duchess," and Lecocq with "La Fille de Madame Angot" and the works of both composers were eagerly awaited by managers and public. In a modest way the German Reeds opened up an avenue for English oper1 "cox and box" 95 ettas in the early sixties, but they made no distinct appeal to the community at large. The entertainment at the Gallery of Illustration, and subsequently at St. George's Hall, was of the harmless order which found favour with people who thought it a sin to visit a theatre. Musical diversion in the regular places of amusement was confined to burlesque. That these French operettas were profitable speculations was clear to any one with the least knowledge of theatrical affairs and business in general. When Sullivan scored such a marked success with his initial effort "Cox and Box," we may fairly assume that visions of more important triumphs haunted his mind. "The Contrabandista" and "Thespis" gave the young composer additional belief in his powers, and with the production of "Trial by Jury" at the Royalty in 1875 he must have been convinced that he could beat the Frenchmen on their own ground. With the composition of "Cox and Box" he sprang, after the manner of Minerva, fully armed into the arena of comic opera. Almost every characteristic that is to be found in his later work is to be found, in a modified way, in that deli
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