THE new opera of Mr. Gilbert and Sir Arthur Sullivan was produced at the Savoy on the 7th ult. with enormous success, and at once bade fair to occupy the stage for a very long time. At the premières of "Ruddigore" and the "Yeomen of the Guard" the audience were not wholly free from misgiving as to the abiding popularity of those works. It was felt that author and composer had turned over a new leaf, and, in the act, passed from a page stamoed wit htheir own individuality to one in which they could only hope for divided possession. The question was whether, in the new work, they would persevere or retrace their steps. Of the two courses the second obtained preference, and, amid general approval, "The Gondoliers" made itself known as a comic opera of the old type, full of Mr. Gilbert's strange conceits and curious inversions; full, also of Sir Arthur Sullivan's most humorous music. For ourselves, we share the general satisfaction. Our admiration for the "Yeomen of the Guard" as a musical melodrama was strongly expressed, but the world must have its laugh, and it is a good thing when men who can provoke mirth in harmless fashion exercise their vocation.
    It would be superfluous to give details of the story of "The Gondoliers" on the present occasion. They are familiar to every reader, and we shall only advert with brevity to those features from which the libretto acquires its distinctiveness. The plot is simple enough, and may claim to be one of Mr. Gilbert's best, inasmuch as it is strong where his "arguments" are generally weak – namely, in the last act. The imbroglio smooths out naturally and at the right moment. There is, of course, abundant love interest, though the author has not chosen to make love his principal motive. Three pairs of lovers, yet the tender passion is, as a moulding force, subordinate! This is unusual, and has the inevitable effect of throwing the lovers, as such, into the background; the girls, especially, though amusing on the stage, having very little significance with regard to the plot. We find the motive of the opera in the circumstances attending the high politics of Barataria, out of which spring the confusion as to which of the two gondoliers is the rightful sovereign; the curious arrangement of a joint kingship till the mystery is cleared up, and all the chain of grotesque incidents following thereupon. From the same source arise, moreover, the opportunities for Mr. Gilbert's inevitable sarcasm. In every one of his operas he has a favourite butt which he assails with the slings and arrows of humour, not always good humour. The absurdities that cling like barnacles to thrones, dominions, principalities, and powers are the butt in this case. Mr. Gilbert's Spanish grandee, impecunious and proud, yet quite willing to be exploited by a limited liability company, is funnily "shown up," but so, in order to be quite fair, is the Republican gondolier, who expresses the greatest contempt for kings till he hears of his own chance in that line, and then he declares, "I've a very poor opinion of the politician who is not open to conviction." The flatterers who surround thrones have their turn:–

And noble lords will scrape and bow,
     And double them into two,
             And open their eyes
              In blank surprise
At whatever she likes to do.
     And everybody will roundly vow
     She's fair as flowers in May,
             And say "How clever!"
             At whatsoever
             She condescends to say.

           Then we go and stand as sentry
           At the Palace (private entry)
Marching hither, marching thither, up and down, and to and fro,
          While the warrior on duty
           Goes in search of beer and beauty
(And it generally happens that he hasn't far to go).

Lord Chancellors were cheap as sprats,
And Bishops in their shovel hats
Were plentiful as tabby cats –
In point of fact, too many.
Ambassadors cropped up like hay,
Prime ministers, and such as they,
Grew like asparagus in May,
And Dukes were three a penny.