His first opera, 'The Veiled Prophet,' was originally performed at
Hanover in 1881, but was not actually heard in London until it was
produced at Covent Garden in 1894. The libretto, an admirable
condensation of Moore's well-known poem from the pen of Mr. W. Barclay
Squire, gave the composer ample opportunities for picturesque and
dramatic effect. Stanford's music is tuneful and vigorous throughout,
and such weaknesses as are occasionally perceptible are due rather to
inexperience of the stage than to any failure in inspiration.
'The Canterbury Pilgrims,' written to a libretto by Gilbert a Beckett,
which was produced in 1884, was happily named by some one at the time
an English 'Meistersinger,' and indeed it is not difficult to imagine
what model Stanford had in his mind when writing his brilliant and
genial opera, Geoffrey, the host of the Tabard Inn, has a pretty
daughter named Cicely, who is loved by the jovial apprentice, Hubert.
Geoffrey finds out their attachment, and determines to sent Cicely upon
a visit to an aunt in Kent, in company with a body of pilgrims who are
just starting for Canterbury. Sir Christopher Synge, a knight of Kent,
has cast sheep's eyes upon the pretty girl, and hearing of her intended
trip bids his factotum, Hal o' the Chepe, assemble a company of
ragamuffins, and carry her off on her way to Canterbury. Hubert
contrives to get enlisted among them, so as to be able to watch over his
sweetheart, and Dame Margery, Sir Christopher's wife, also in disguise,
joins the pilgrims, in the hope of keeping an eye upon her errant
spouse.
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