They were earnest in intention, skilful in invention, and quite delightful at the first hearing, but of national virility they were, unhappily, not possessed.
Carl Rosa deserves the grateful memory of the English people.
Of the many attempts to establish English opera in London on a permanent basis, the most extraordinary as well as the most disastrous, was that of the late Mr. D'Oyly Carte in 1891, and which was dignified by the title of "Royal English Opera."
The original intention of the founder, as generally understood, was not only to build a sumptuous home for it, but to encourage its cultivation and development and, by commissioning distinguished British composers to write works, make it, in fact, a nursery for native genius.
The idea was, doubtless, a splendid one, but, unfortunately, the attempt to carry it out was characterised by features that were more surprising than convincing. If the design had been to discard, obtrusively, all precedent, it was entirely fulfilled. Certainly, no lack of courage was in evidence, although prudence seemed to be wanting.
Every one engaged to carry out the great scheme was new to such work. Sir Arthur Sullivan, whose "Ivanhoe" was to inaugurate the attempt, was writing his first grand opera; the artistes chosen for its performance were all with one or two exceptions, without any previous experience of it; the musician selected as musical director had never previously conducted a grand opera, and the stage manager had never produced one.
But perhaps the most extraordinary thing of all, and the idea was most assuredly new, was to start such a scheme with only one opera, and no definite decision as regards a second.
If this were not tempting the Fates, it is difficult to know what would be. At any rate, the Fates did not leave the issue long in doubt.
The immense popularity Sir Arthur Sullivan enjoyed, not only on account of his delightful comic operas, but of his splendid work in other and more serious directions, stimulated public interest, and the production of "Ivanhoe" was awaited with feverish expectation.
Never, it can be truly said, did the Press greet a new venture with greater warmth and enthusiasm. Columns of anticipatory notices were devoted to it, many bearing additional weight by being signed by the writers, and even leading articles in the foremost journals of the country, lending encouragement to the enterprise, went to mark the serious mind in which it was regarded. At last, the eventful night arrived, and the opera was produced under conditions that could hardly have been rendered more favourable.