LA MASCOTTE.

Daily Telegraph (Napier), Issue 3942, 8 March 1884, Page 4

LA MASCOTTE.

Scarcely ten years have elapsed since the first comic opera was produced in the colonies, but now, thanks in a great measure to tho many direct line of steamers, an opera is no sooner produced in London than there are eager enquiries from the colonies in regard to it. Before tho period mentioned avo had . Italian and English operas galore. But the first piece produced, tho new departure was not taken till 1874, ■when the Princess of Trebizond was performed at tho Opera House, Melbourne. Tho caste on that occasion, including Docy Stewart, the eldest of three colonial known sisters; Harwood, who unfortunately could not sing but in his elegant fooling that want was forgotten; Dick Stewart himself—the father of young Stewart, who played with the Polks, the Dutchman in the Strategist, and the stepfather of the three sisters—whose Gott in Himmel always fetched the gods; Bracy who is now singing opera bouffe parts in London ; Daniels, who got his first chance in an eccentric part and scored a success ; and included in the rank and file were some who will renew their acquaintance with us in "La Moscotte" in a few days' time. Tho pieco ran some six weeks and took the town by storm. Nothing succeeds like success, and so it was followed by Genevieve do Brabant, in which the famous gen d'armes duet used to bo encored nightly, and which was whistled by every larrikin in every suburb at all hours of the night or day. Up to this point the operas had been produced by those who had never seen them elsowhore, and without going to any great expense in tho matter of dressing- and stage mounting, tut a fresh departure from that out was taken. Expensive scenery, and magnificent dresses were tho new order of tho day, and the production of Madame Angot, with Clara Thompson (the wife of Henry Bracy, and the sister of the wellknown opera bouffo singer, Lydia Thompson, having the leading part, while the evcr-to-be-rcmeinbei - ed Jcannic Winston — name not unknown in New Zealand — played Madame Lange. One night tho habitues of the theatre, in tho quarrel scene in tho last act, the two quarrelled in reality, and tho occupants of the pit had a fresh glory added to the opera. Girofle Girofla speedily followed, and was equally successful, Tomploton and Farley playing Moursook, a regular firebrand. Then Catherine Lewis travelled over from tho States to show us something. Catherine could not sing, was affected to a degree, and, though with a certain amount of chic, she was a failure, tho press damning her with faint jiraiso. She was succeeded by tho brightest little lady, most finished vocalist, and sparkling actress that the colonies has over seen in her particular line —Emilie Melville, who did not come to Australia to play in opera bouffo, but Melbourne had been surfeited with the Bohemian Girl, Maritana, and Martha, ringing tho changes on the three operas, so that accomplished, as Miss Melville was admitted to bo, praised to tho sides as she was by capable and discerning critics, tho pit was not filled. Managers, looking solemn and driven to their wit's ends, suddenly remembering their former successes, produced La Perichole, with its famous letter song and tho sparkling air, " I'm just a little tight." Her success was unbounded, and for the first time Melbourne really saw who.t comic opera meant. The Argus raved at the too realistic drinking song - , and after a week Miss Melville somewhat tonod down tho finest performance of the sort that had ever been seen on tho colonial stage. Miss Alice Wooldridgo played during this season, assuming secolid parts, though previously sho had only been cast for very minor dramatic parts. Mis.3 Melville played in quick succession Girofle, La Belle Helene, Cloches de Corneville, Chilpcric, Littlo Duke, Madamo Angot, the Grand Duchess, and ono or two othors which I have forgotten. Offenbach was at first the only musician whoso works wore produced, but, as will bo seen from tho list I have given above, other composers were soon Bought after. Sho ran for months, and her success was so great that tho Christmas production was Forfcunatus, in which sho Bustainod the title rule.

After tho Australian public had on en got an insight into how such operas should be placed and played, managers found it worth their while to scour the old country, not only for new pieces, but for new players, and the public of theso colonies have had but little causo or' complaint of late years, as Tambour Major, Pinafore, Boccaccio, Patience, Olivette, Pirates of Ponzanco, and their kindred all testify. In a few clays La Mascotte (or the Inick Bringcr) will be produced in this town. It is from the pen of Offenbach's successor—many say he is superior—Audran, who gave ua Olivette, with Elsa May as Olivette and Nellie Stewart as tho Countess when it was first produced in tho colonies. We shall be glad to renow our acquaintance with tho very clover people who are travelling under tho auspices of Williamson, Garner, and Musgrovo. Wliat dramatic memories the first two names rccal. John Stofcl and tho Shaughran. Tho company is identically the same as appeared in Melbourne and Sydney with—Ah ! there's tho rub—two exceptions, Maggie Moore and Verdi. Well do wo remember tho evening when tho former made her first appearance—it wants some months of ten years—under the Southern Cross sho tripped on the stage as a German-school girl, she sang songs and gavo breakdowns, and tho colonials, who had nover seen a first-class London song and dance lady, were astonished. But Maggie Moore was far moro than, a, mero song and dance lady, sho was a, wondorfully sympathetic, capable actress, lacking, porhaps, somewhat in repose (sho is getting the latter as shbjturns to embonpoint), but sho is the dashing Lizzie Stofel of yore, ago seems not to alter her. Tho genial Verdi, who sings as no other baritone over has before—for ho is better than Farley or Templeton—has created the characters of half the operas that havo been produced of late years. Bill Green—though it does not sound so well as his stage name—is also a capital euchro playor, irv fact tho Heathen Chinee can stuij no bowers up his sleevo when ho plays with him. By tho way, wh,«n ; he first came out, another principal Avas a failure, and tho yarn was that he had to como so as to take a hand witji, William at euchro. Then wo como to, Misa Nellie Stewart. What shall we say of her ? Wo remember her in tho old Aa.y% when for her ■hapoliness sho used to head the band of Amazons in tho pantomime,, as a sort of striking contrast to some of the other figures in those troupes. Then, as if sho°had fallen from tho clouds, we learned ono morning she had developed into a magnificent, signer. We were not much surprised", for an old cockney friend had always instilled into ua she would be the best of tjlio trio of visitors. In those days we had a leaning'to Maggio. You sco Maggie was never known to over exert herself. Sl>e would bo cool if the. place was all on &c around, nothing cou i c i G ver disturb Maggie's equanimity/ 'jut s ho has not progressed like Nellie— - WQ ' can 't uso the handle, try as raui aa we -will—Nellie's successes have all been obtained by genuine hard working study. All artificial amateurs might learn a lesson from her—sho has a taking inannov, natural in all her actions, her voice is full of sweetness, and sings with that touching sympathy which finds its way-to all hearts. In "La Mascotto" she has two capital songs, ."Hands off," and "Oh, give mo back," and there is a very taking, duet "Orlou, Glou," between herself and Mr Vcrnon, in which miisic of great tenderness is wedded to ridiculous words. Tho tenor of tho company is Mr Woodvillc, who introduces, not an Italian song, but the pretty ballad Lovo Never Sleeps. Mr Woodville has a aweet high tenor voice, and makes capital uso of his falsetto. Mr Vernon—well wo noccl say nothing of him—all Now Zealand knows _ his capabilities, and would take a long time to tiro of him. Then we havo two vory capable comedians in Wallace and Kelly, tho former of whom will never bo forgotten for his charactor of Bambini. Kolly is a fit successor to George Leopold, with tho addition of a einging voico. Then ■we havo Fredericks, who even now must Smell of burnt cork, whatever ho does we know will bo clone well. We had, nearly forgotten another old friend, Fanny Liddiard—who also seems to be developing, and who tf o hope as Fiametta will giycus a treat. But ono regret can, be founcl with opera bouft'o; it is written, for timo and not

for'immortality. To-day the music of ah opera can be got in songs, quadrilles, valses, solos, galops, fantasias, to-morrow it is forgotten, it has had to give place to something equally ridiculous but newer, light sparkling music having been joined in wedlock to words which by their veiy oddity amuse.