A Comic Opera Summary

Comic opera denotes a sung dramatic work of a light or comic nature, usually with a happy ending.

Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. It quickly made its way to France, where it became opera bouffon, and eventually, in the following century, French operetta, with Jacques Offenbach as its most accomplished practitioner.

The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include Viennese operetta, German singspiel, Spanish zarzuela, Russian comic opera, English ballad opera and Savoy Opera.

English Light Opera

England traces its light opera tradition to the ballad opera, typically a comic play that incorporated songs set to popular tunes. John Gay’s The Beggar’s Opera was the earliest and most popular of these. Richard Brinsley Sheridan’s The Duenna (1775), with a score by Thomas Linley, was expressly described as "a comic opera".

By the second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque, as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed, beginning in 1855, and a number of other Britons, deplored the risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote, “The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers.”

Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and '70s, including Les Cloches de Corneville, Madame Favart and others into the 1880s, often adapted by H.B. Farnie and Robert Reece. F.C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box, to write several comic operas on English themes in the 1860s and 1870s.

In 1875, Richard D’Oyly Carte, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as a countermeasure to the continental operettas, commissioned Clay's collaborator, W.S. Gilbert, and the promising young composer, Arthur Sullivan, to write a short one-act opera that would serve as an afterpiece to Offenbach's La Perichole. The result was Trial by Jury; its success launched the Gilbert and Sullivan partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq. Eager to liberate the English stage from risqué French influences, and emboldened by the success of Trial by Jury, Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera, The Sorcerer, starting the series that came to be known as the Savoy Operas (named for the Savoy Theatre, which Carte later built for these works) that included H.M.S. Pinafore, The Pirates of Penzance and The Mikado, which became popular around the world. The D’Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982.

The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in Dorothy), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically the sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings.

http://en.wikipedia.org/wiki/Comic_opera

Afterword by the Blog Author

It has been written that serious opera never fully made it in England, especially after John Gay’s Beggar’s Opera.  Thanks to John Gay, opera was laughed off the stage.  The same can be said of the United States, which to a degree has only accepted its own best opera, Porgy and Bess, which was first a success in Europe and, much later, as an American motion picture.  Light opera survives as Broadway musicals, but most of these are recreated from older works and survive because they attract tourists to the New York theatres.  The heyday of American light operas was the 1930s, but even then the popular songs from those musicals were outsold by songs coming out of Hollywood written by Harry Warren.