106-523: Alfred Cellier (1 December 1844 – 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over
212-527: A Japanese village exhibition opened in Knightsbridge, London, making the time ripe for an opera set in Japan. Gilbert said, "I cannot give you a good reason for our... piece being laid in Japan. It... afforded scope for picturesque treatment, scenery and costume, and I think that the idea of a chief magistrate, who is... judge and actual executioner in one, and yet would not hurt a worm, may perhaps please
318-652: A D'Oyly Carte tour of South Africa, conducting six Gilbert and Sullivan operas and The Rose of Persia . He briefly left D'Oyly Carte on his return to England in June 1903. During that month he conducted a one-off matinée performance of his new operetta, Bob (libretto by Cunningham Bridgman, the manager of a D'Oyly Carte touring company) at the Adelphi Theatre . The piece had been premiered in Walsall in April while he
424-404: A Japanese setting. Gilbert initially proposed a story for a new opera about a magic lozenge that would change the characters, which Sullivan found artificial and lacking in "human interest and probability", as well as being too similar to their earlier opera, The Sorcerer . As dramatised in the film Topsy-Turvy , the author and composer were at an impasse until 8 May 1884, when Gilbert dropped
530-460: A ballet, L'Île Enchantée (1864) and incidental music for a number of Shakespeare plays. Other early pieces that were praised were his Symphony in E , Cello Concerto , and Overture in C (In Memoriam) (all three of which premiered in 1866). These commissions were not sufficient to keep Sullivan afloat. He worked as a church organist and composed numerous hymns , popular songs, and parlour ballads . Sullivan's first foray into comic opera
636-496: A dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera , Dorothy , was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century. Cellier was born in South Hackney , London, the second child and eldest son of Arsène Cellier, a language teacher from France, and his wife Mary Ann Peterine, formerly Peacock, née Thomsett. He
742-850: A fashion that Gilbert later condemned. The musical score to Thespis was never published and is now lost, except for one song that was published separately, a chorus that was re-used in The Pirates of Penzance , and the Act II ballet music. Over the next three years, Gilbert and Sullivan did not have occasion to work together again, but each man became more eminent in his field. Gilbert worked with Frederic Clay on Happy Arcadia (1872) and Alfred Cellier on Topsyturveydom (1874) and wrote The Wicked World (1873), Sweethearts (1874) and several other libretti, farces, extravaganzas, fairy comedies, dramas and adaptations. Sullivan completed his Festival Te Deum (1872); another oratorio, The Light of
848-453: A fictional kingdom ruled by a pair of gondoliers who attempt to remodel the monarchy in a spirit of "republican equality." Gilbert recapitulates a number of his earlier themes, including the satire of class distinctions figuring in many of his earlier librettos. The libretto also reflects Gilbert's fascination with the "Stock Company Act", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in
954-538: A grand opera, the new libretto provided Sullivan with the opportunity to write his most ambitious theatre score to date. The critics, who had recently lauded the composer for his successful oratorio, The Golden Legend , considered the score to Yeomen to be Sullivan's finest, including its overture, which was written in sonata form , rather than as a sequential pot-pourri of tunes from the opera, as in most of his other overtures. The Daily Telegraph said: The accompaniments... are delightful to hear, and especially does
1060-768: A libretto by B. C. Stephenson ) that was presented in Boston , Massachusetts, in 1881. Reviews of the premiere were mixed, praising the "gracefulness" of the music, but finding the opera lacking in dramatic intensity; it closed after two weeks. Cellier remained in America to conduct the Comly-Barton Opera Company on tour in the American West. Later that year he was music director of D'Oyly Carte's New York and touring productions of Billee Taylor (1882), Les Manteaux Noirs and Rip Van Winkle (both in
1166-543: A libretto by Gilbert Arthur à Beckett ), and Bella Donna (1878), had only modest success. Cellier also wrote numerous separate songs and composed for orchestra (including his Suite Symphonique (1978)) and the piano; his Danse pompadour achieved particular popularity. In December 1877 Cellier joined the D'Oyly Carte company as musical director at the Opera Comique in London. There he conducted The Sorcerer (1877), H.M.S. Pinafore (1878, for which he wrote
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#17327806408841272-421: A new comic opera on six months' notice. Princess Ida (1884) spoofed women's education and male chauvinism and continued the theme from Iolanthe of the war between the sexes. The opera is based on Tennyson 's poem The Princess: A Medley . Gilbert had written a blank verse farce based on the same material in 1870, called The Princess , and he reused a good deal of the dialogue from his earlier play in
1378-590: A pair of strolling players – a jester and a singing girl – who are caught up in a risky intrigue at the Tower of London during the 16th century. The dialogue, though in prose, is quasi- Early Modern English in style, and there is no satire of British institutions. For some of the plot elements, Gilbert had reached back to his 1875 tragedy, Broken Hearts . The Times praised the libretto: "It should... be acknowledged that Mr. Gilbert has earnestly endeavoured to leave familiar grooves and rise to higher things". Although not
1484-510: A production of As You Like It . He composed two more companion pieces that had Savoy Theatre premieres, both with libretti by Desprez: The Carp (performed with The Mikado and Ruddigore in 1886–87), and Mrs. Jarramie's Genie (composed together with his brother François, which played together with several different operas at the Savoy between 1887 and 1889. While in London, Cellier conducted at several London theatres, including
1590-467: A revival of Thespis for the 1875 Christmas season, which Gilbert and Sullivan would have revised, but he was unable to obtain financing for the project. In early 1876, Carte requested that Gilbert and Sullivan create another one-act opera on the theme of burglars, but this was never completed. Carte's real ambition was to develop an English form of light opera that would displace the bawdy burlesques and badly translated French operettas then dominating
1696-562: A revival of his earlier work, Charity Begins at Home , and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies . Often in ill health throughout his life, Cellier
1802-458: A surprise twist changes everything dramatically near the end of the story. Gilbert oversaw the designs of sets and costumes, and he directed the performers on stage. He sought realism in acting, shunned self-conscious interaction with the audience, and insisted on a standard of characterisation in which the characters were never aware of their own absurdity. He insisted that his actors know their words perfectly and obey his stage directions, which
1908-677: A total of 931 performances was the longest of any piece of musical theatre up to that time, considerably longer than even The Mikado , a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn , and to Oliver Goldsmith and even Shakespeare . Its success led to revivals of some of Cellier's earlier works. Cellier returned to Australia in 1888 to conduct Dorothy and
2014-465: A version of the "lozenge" plot for their next opera, and Sullivan reiterated his reluctance to set it. While the two men worked out their artistic differences, and Sullivan finished other obligations, Carte produced revivals of such old favourites as H.M.S. Pinafore , The Pirates of Penzance , and The Mikado . The Yeomen of the Guard (1888), their only joint work with a serious ending, concerns
2120-477: A year, with strong New York and touring productions. During the run, on 12 March 1889, Sullivan wrote to Gilbert, I have lost the liking for writing comic opera, and entertain very grave doubts as to my power of doing it... You say that in a serious opera, you must more or less sacrifice yourself. I say that this is just what I have been doing in all our joint pieces, and, what is more, must continue to do in comic opera to make it successful. Sullivan insisted that
2226-430: Is known only to those who work on the stage, and who do sometimes become dull and listless because of their very familiarity with the parts they are playing or because the audience cannot easily be aroused to 'concert pitch'. ... It is at just such times as these that a real conductor is worth his weight in gold. Notwithstanding that he may have seen the piece hundreds of times – and might with reason be more bored than
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#17327806408842332-421: Is more even, and maintained at a higher standard, than in any of his earlier works..." Iolanthe is one of several of Gilbert's works, including The Wicked World (1873), Broken Hearts (1875), Princess Ida (1884) and Fallen Fairies (1909), where the introduction of men and "mortal love" into a tranquil world of women wreaks havoc with the status quo. Gilbert had created several "fairy comedies" at
2438-410: Is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a completely deadpan way. Gilbert developed his innovative theories on the art of stage direction, following the playwright and theatrical reformer Tom Robertson . At the time Gilbert began writing, theatre in Britain
2544-636: The Criterion , the St James's , and the Savoy . Later, as a result of ill health, he resided mostly in America, where he was at times a representative for the D'Oyly Carte company, and Australia, where he conducted for the J. C. Williamson organization. In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes , Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success,
2650-470: The German Reeds ): the heroic protagonist ( tenor ) and his love-interest ( soprano ); the older woman with a secret or a sharp tongue ( contralto ); the baffled lyric baritone – the girl's father; and a classic villain ( bass-baritone ). Gilbert and Sullivan added the element of the comic patter-singing character . With the success of H.M.S. Pinafore , the D'Oyly Carte repertory and production system
2756-563: The Haymarket Theatre in the early 1870s. These plays, influenced by the fairy work of James Planché , are founded upon the idea of self-revelation by characters under the influence of some magic or some supernatural interference. In 1882, Gilbert had a telephone installed in his home and at the prompt desk at the Savoy Theatre so that he could monitor performances and rehearsals from his home study. Gilbert had referred to
2862-595: The House of Lords and made much of the war between the sexes. The critics felt that Sullivan's work in Iolanthe had taken a step forward. The Daily Telegraph commented, "The composer has risen to his opportunity, and we are disposed to account Iolanthe his best effort in all the Gilbertian series." Similarly, The Theatre judged that "the music of Iolanthe is Dr Sullivan's chef d'oeuvre . The quality throughout
2968-575: The Opera Comique , London. He remained as the company's musical director there and, from 1881, at the Savoy Theatre , until 1902, with a break between July 1880 and April 1881, when his brother temporarily resumed the position. The composer conducted at first nights, but Cellier, as musical director, was the principal conductor for the original runs of Patience (1881–82), Iolanthe (1882–84), Princess Ida (1884), The Mikado (1885–87), Ruddigore (1887), The Yeomen of
3074-507: The Savoy Theatre in 1881 to present their joint works (which came to be known as the Savoy Operas ) and founded the D'Oyly Carte Opera Company , which performed and promoted Gilbert and Sullivan's works for over a century. Gilbert was born in London on 18 November 1836. His father, William , was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. In 1861, to supplement his income,
3180-466: The Savoy operas . Succeeding his elder brother Alfred as the company's chief conductor in 1878, Cellier devoted almost all the rest of his life to comic opera . He was musical director for the original runs of nine Gilbert and Sullivan operas and fourteen full-length pieces by other writers at the Savoy Theatre between 1881 and 1902. He composed songs and also some short curtain raisers that were well received but have rarely been revived. Cellier
3286-539: The "Gilbertian" style as follows: With great fluidity and freedom, [Gilbert] continually challenges our natural expectations. First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers metamorphose into aesthetes , and so on, and nearly every opera is resolved by a deft moving of the goalposts... His genius
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3392-423: The "respectability" of civilisation and the peerage, and the relevance of a liberal education. The story also revisits Pinafore ' s theme of unqualified people in positions of authority, in the person of the "modern Major-General" who has up-to-date knowledge about everything except the military. The Major-General and his many daughters escape from the tender-hearted Pirates of Penzance, who are all orphans, on
3498-641: The Belfast Philharmonic Society (both in 1862). In 1866 he succeeded Dr. Chipp as organist and director of the Ulster Hall concerts, Belfast , at the same time acting as conductor of the Belfast Philharmonic Society. In 1868 he returned to London as organist of St Alban's Church , Holborn . In January 1871, Cellier became the first conductor and music director at the Royal Court Theatre in London. From 1871 to 1875 he
3604-702: The Best" (1888); and "Men of the Day" (1888). His short anthem , "Holy, Holy, Holy" was published in 1901. Cellier devoted his brief retirement to writing a book of reminiscences about Gilbert, Sullivan and the D'Oyly Carte Opera Company ( Gilbert and Sullivan and Their Operas ). He died at his home in Kingston upon Thames in 1914 before the book was completed, and his collaborator, Bridgeman, completed and published it later that year. Henry Lytton wrote: Cellier had his heart and soul in every performance, and what that means
3710-511: The English-speaking world. Gilbert and Sullivan introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century. The operas have also influenced political discourse, literature, film and television and have been widely parodied and pastiched by humorists. The producer Richard D'Oyly Carte brought Gilbert and Sullivan together and nurtured their collaboration. He built
3816-480: The First World War, and the piece was regularly performed by the D'Oyly Carte Opera Company thereafter. Some of the plot elements of Ruddigore were introduced by Gilbert in his earlier one-act opera, Ages Ago (1869), including the tale of the wicked ancestor and the device of the ghostly ancestors stepping out of their portraits. When Ruddigore closed, no new opera was ready. Gilbert again proposed
3922-457: The Gaiety, but no one at the time foresaw that this was the beginning of a great collaboration. Unlike the later Gilbert and Sullivan works, it was hastily prepared, and its nature was more risqué, like Gilbert's earlier burlesques , with a broader style of comedy that allowed for improvisation by the actors. Two of the male characters were played by women, whose shapely legs were put on display in
4028-453: The Guard (1888–89), The Gondoliers (1889–91), Utopia, Limited (1893–94) and The Grand Duke (1896). As the Savoy's musical director he conducted the London runs of fourteen operas by other authors or composers between 1891 and 1902, fourteen revivals of Gilbert and Sullivan works, beginning with The Sorcerer in 1884 and ending with Iolanthe in 1901, and a similar number of curtain-raisers and afterpieces. He
4134-502: The London stage. He assembled a syndicate and formed the Comedy Opera Company, with Gilbert and Sullivan commissioned to write a comic opera that would serve as the centrepiece for an evening's entertainment. Gilbert found a subject in one of his own short stories, "The Elixir of Love", which concerned the complications arising when a love potion is distributed to all the residents of a small village. The leading character
4240-507: The Mikado will be visiting the town, Ko-Ko assumes that he is coming to ascertain whether Ko-Ko has carried out the executions. Too timid to execute anyone, Ko-Ko cooks up a conspiracy to misdirect the Mikado, which goes awry. Eventually, Ko-Ko must persuade Katisha to marry him to save his own life and the lives of the other conspirators. With the opening of trade between England and Japan, Japanese imports, art and styles became fashionable, and
4346-632: The Savoy Theatre, Cellier composed music for several companion pieces that played together with the Savoy Operas (and often also on tour), including Mrs. Jarramie's Genie (1888, composed jointly with his brother Alfred, libretto by Frank Desprez ), Captain Billy (1891, libretto by Harry Greenbank ), Old Sarah (1897, libretto by Greenbank), and Pretty Polly (1900, libretto by Basil Hood ). These short pieces have rarely been revived professionally, but they were popular with amateur groups in
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4452-526: The World (1873); his only song cycle , The Window; or, The Song of the Wrens (1871); incidental music to The Merry Wives of Windsor (1874); and more songs, parlour ballads, and hymns , including " Onward, Christian Soldiers " (1872). At the same time, the audience for theatre was growing because of the rapidly expanding British population; improvement in education and the standard of living, especially of
4558-441: The adjacent photograph. The work also lampoons male vanity and chauvinism in the military. The story concerns two rival aesthetic poets, who attract the attention of the young ladies of the village, formerly engaged to the members of a cavalry regiment. But both poets are in love with Patience, the village milkmaid, who detests one of them and feels that it is her duty to avoid the other despite her love for him. Richard D'Oyly Carte
4664-480: The age of eight, he was proficient with all the instruments in the band. In school he began to compose anthems and songs. In 1856, he received the first Mendelssohn Scholarship and studied at the Royal Academy of Music and then at Leipzig , where he also took up conducting. His graduation piece, completed in 1861, was a suite of incidental music to Shakespeare's The Tempest . Revised and expanded, it
4770-573: The best known. Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion: fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humour and pathos. Their operas have enjoyed broad and enduring international success and are still performed frequently throughout
4876-428: The cantata as an opera in 1898. Patience (1881) satirised the aesthetic movement in general and its colourful poets in particular, combining aspects of A. C. Swinburne , Dante Gabriel Rossetti , Oscar Wilde , James McNeill Whistler and others in the rival poets Bunthorne and Grosvenor. Grossmith, who created the role of Bunthorne, based his makeup, wig and costume on Swinburne and especially Whistler, as seen in
4982-558: The choristers received an all-round education in addition to their musical training. Leaving the choir school at the age of seventeen, Cellier held a series of posts as an organist, first in Belfast, Ireland, and then at the church of St John of Jerusalem, South Hackney, where he had been christened, and in 1870 St Michael's, Lower Sydenham . After a spell as Sullivan's deputy organist at St Peter's, Cranley Gardens, South Kensington , he moved to St Anne's, Surbiton , where he remained for
5088-648: The comic opera Dorothy , with a libretto by B. C. Stephenson . To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne , which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for J. C. Williamson and
5194-420: The defendant fervently and seeks "substantial damages." After much argument, the judge resolves the case by marrying the lovely plaintiff himself. With Sullivan's brother, Fred , as the Learned Judge, the opera was a runaway hit, outlasting the run of La Périchole . Provincial tours and productions at other theatres quickly followed. Fred Sullivan was the prototype for the " patter " (comic) baritone roles in
5300-519: The drama. Its mixture of political satire and grand opera parody mimicked Offenbach's Orpheus in the Underworld and La belle Hélène , which (in translation) then dominated the English musical stage. Thespis opened on Boxing Day and ran for 63 performances. It outran five of its nine competitors for the 1871 holiday season, and its run was extended beyond the length of a normal run at
5406-420: The earlier collaborations with a run of 288 performances. The original title, Ruddygore , together with some of the plot devices, including the revivification of ghosts, drew negative comments from critics. Gilbert and Sullivan respelled the title and made a number of changes and cuts. Nevertheless, the piece was profitable, and the reviews were not all bad. For instance, The Illustrated London News praised
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#17327806408845512-459: The early years of the 20th century. For the Children's Pinafore in 1879–80 and the Children's Pirates in 1884, Cellier transposed the song keys to fit each individual child's voice. The choruses, especially the string parts, were rearranged so that the children's voices could be heard, and orchestral accompaniment was provided for the normally unaccompanied numbers for the support of
5618-532: The evils of modern England till they had literally not a leg to stand on, exactly as Swift did... I doubt if there is a single joke in the whole play that fits the Japanese. But all the jokes in the play fit the English. ... About England Pooh-bah is something more than a satire; he is the truth." Several of the later operas are similarly set in foreign or fictional locales, including The Gondoliers , Utopia, Limited and The Grand Duke . The Mikado became
5724-588: The fall of 1882), and Iolanthe (1882–83), for the latter of which he prepared the New York overture. In 1883, Cellier's setting of Gray's Elegy , in the form of a cantata , was produced at the Leeds music festival . In 1883, Cellier left the D'Oyly Carte company, but he was back for brief periods as music director with D'Oyly Carte's touring companies for Princess Ida (1884) and The Mikado (1885). In 1885, also, Cellier composed incidental music for
5830-535: The false plea that he is an orphan himself. The pirates learn of the deception and re-capture the Major-General, but when it is revealed that the pirates are all peers , the Major-General bids them: "resume your ranks and legislative duties, and take my daughters, all of whom are beauties!" The piece premiered in New York rather than London, in an (unsuccessful) attempt to secure the American copyright, and
5936-465: The financial security of writing for the Savoy, increasingly viewed his work with Gilbert as unimportant, beneath his skills, and repetitious. Furthermore, he was unhappy that he had to simplify his music to ensure that Gilbert's words could be heard. But paradoxically, in February 1883, just after Iolanthe opened, Sullivan had signed a five-year agreement with Gilbert and Carte requiring him to produce
6042-427: The first time in the partnership's history, no new opera would be ready when the old one closed. On 22 March 1884, he gave Gilbert and Sullivan contractual notice that a new opera would be required in six months' time. In the meantime, when Ida closed, Carte produced a revival of The Sorcerer . The most successful of the Savoy Operas was The Mikado (1885), which made fun of English bureaucracy, thinly disguised by
6148-496: The later operas. F. C. Burnand wrote that he "was one of the most naturally comic little men I ever came across. He, too, was a first-rate practical musician.... As he was the most absurd person, so was he the very kindliest...." Fred's creation would serve as a model for the rest of the collaborators' works, and each of them has a crucial comic little man role, as Burnand had put it. The "patter" baritone (or "principal comedian", as these roles later were called) would often assume
6254-458: The leading role in Gilbert and Sullivan's comic operas, and was usually allotted the speedy patter songs . After the success of Trial by Jury , Gilbert and Sullivan were suddenly in demand to write more operas together. Over the next two years, Richard D'Oyly Carte and Carl Rosa were two of several theatrical managers who negotiated with the team but were unable to come to terms. Carte proposed
6360-402: The leading role, but her death in childbirth cancelled the project. Not long afterwards, Richard D'Oyly Carte was managing the Royalty Theatre and needed a short opera to be played as an afterpiece to Offenbach 's La Périchole . Carte knew about Gilbert's libretto for Rosa and suggested that Sullivan write a score for it. Gilbert read the piece to Sullivan in February 1875, and the composer
6466-415: The libretto of Princess Ida . Ida is the only Gilbert and Sullivan work with dialogue entirely in blank verse and is also the only one of their works in three acts. Lillian Russell had been engaged to create the title role, but Gilbert did not believe that she was dedicated enough, and when she missed a rehearsal, he dismissed her. Princess Ida was the first of the Gilbert and Sullivan operas that, by
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#17327806408846572-532: The long life [of the production] shall have come to an end." He achieved a favourable outcome with The Sultan of Mocha , produced at Prince's Theatre, Manchester, in 1874 and revived in London in 1876 and 1887 (with a new libretto) and in New York in 1880, among others. Most of his early works for the theatre, including Dora's Dream (1873), Topsyturveydom (1874, with a libretto by W. S. Gilbert ), The Tower of London (1875, Manchester), Nell Gwynne (1876), Two Foster Brothers (1877, St. George's Hall , with
6678-615: The lozenge idea and agreed to provide a libretto without any supernatural elements. The story focuses on a "cheap tailor", Ko-Ko, who is promoted to the position of Lord High Executioner of the town of Titipu. He loves his ward, Yum-Yum, but she loves a musician, who is really the son of the emperor of Japan (the Mikado) and who is in disguise to escape the attentions of the elderly and amorous Katisha. The Mikado has decreed that executions must resume without delay in Titipu. When news arrives that
6784-483: The middle class; improving public transport; and installation of street lighting, which made travel home from the theatre safer. The number of pianos manufactured in England doubled between 1870 and 1890 as more people began to play parlour music at home and more theatres and concert halls opened. In 1874, Gilbert wrote a short libretto on commission from producer-conductor Carl Rosa , whose wife would have played
6890-543: The new technology in Pinafore in 1878, only two years after the device was invented and before London even had telephone service. Sullivan had one installed as well, and on 13 May 1883, at a party to celebrate the composer's 41st birthday, the guests, including the Prince of Wales (later Edward VII ), heard a direct relay of parts of Iolanthe from the Savoy. This was probably the first live "broadcast" of an opera. During
6996-673: The next opera must be a grand opera . Gilbert did not feel that he could write a grand opera libretto, but he offered a compromise that Sullivan eventually accepted. The two would write a light opera for the Savoy, and at the same time, Sullivan a grand opera ( Ivanhoe ) for a new theatre that Carte was constructing to present British opera. After a brief impasse over the choice of subject, Sullivan accepted an idea connected with Venice and Venetian life, as "this seemed to me to hold out great chances of bright colour and taking music." The Gondoliers (1889) takes place partly in Venice and partly in
7102-423: The next opera, Utopia, Limited . Press accounts were almost entirely favourable. The Illustrated London News reported: Fran%C3%A7ois Cellier François Arsène Cellier (14 December 1849 – 5 January 1914), often called Frank , was an English conductor and composer. He is known for his tenure as musical director and conductor of the D'Oyly Carte Opera Company during the original runs and early revivals of
7208-555: The opera. In 1880, Sullivan's cantata The Martyr of Antioch premiered at the Leeds Triennial Music Festival , with a libretto adapted by Sullivan and Gilbert from an 1822 epic poem by Henry Hart Milman concerning the 3rd-century martyrdom of St. Margaret of Antioch . Sullivan became the conductor of the Leeds festival beginning in 1880 and conducted the performance. The Carl Rosa Opera Company staged
7314-586: The overture to Pirates using Sullivan's music from the rest of the score. Back in London in July 1880, he directed the music at the Opera Comique for Pirates and another of his own pieces with Desprez, In the Sulks . In April 1881, he left the D'Oyly Carte company, ceding the baton to his brother. Cellier composed a three-act grand opera , Pandora , a version of Longfellow 's The Masque of Pandora (with
7420-405: The overture, based on themes from the opera), Trial by Jury (1878), George Grossmith 's Cups and Saucers (1878–79), and three of his own one-act works: Dora's Dream (1877–78 revival), The Spectre Knight (1878), and After All! (1878–79). Cellier was conducting the performance of Pinafore during which the partners of The Comedy Opera Company attempted to repossess
7526-419: The partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, and surpassing the runs of Pinafore and Patience . It remains the most frequently performed Savoy Opera. It has been translated into numerous languages and is one of the most frequently played musical theatre pieces in history. Ruddigore (1887), a topsy-turvy take on Victorian melodrama , was less successful than most of
7632-506: The partnership's previous standards, was not a success. A particularly hot summer in London did not help ticket sales. The piece ran for a comparatively short 246 performances and was not revived in London until 1919. Sullivan had been satisfied with the libretto, but two months after Ida opened, Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself." As Princess Ida showed signs of flagging, Carte realised that, for
7738-606: The performers, writing their operas for ensemble casts rather than individual stars. The repertory system ensured that the comic patter character who performed the role of the sorcerer, John Wellington Wells, would become the ruler of the Queen's navy as Sir Joseph Porter in H.M.S. Pinafore , then join the army as Major-General Stanley in The Pirates of Penzance , and so on. Similarly, Mrs. Partlet in The Sorcerer transformed into Little Buttercup in Pinafore , then into Ruth,
7844-647: The piratical maid-of-all-work in Pirates . Relatively unknown performers whom Gilbert and Sullivan engaged early in the collaboration would stay with the company for many years, becoming stars of the Victorian stage. These included George Grossmith , the principal comic; Rutland Barrington , the lyric baritone; Richard Temple , the bass-baritone; and Jessie Bond , the mezzo-soprano soubrette . The Pirates of Penzance (New Year's Eve, 1879) also poked fun at grand opera conventions, sense of duty, family obligation,
7950-463: The principals themselves – he comes to each new performance with an enthusiasm which shakes the company out of themselves and makes everything go with a will. Cellier's collaborator Bridgeman wrote of his friend's dedication to the music of Arthur Sullivan and Alfred Cellier, to the exclusion, Bridgeman felt, of all other music. Sullivan willed to Cellier the original manuscript scores for The Pirates of Penzance and Patience . Bridgeman, and
8056-533: The production with no return, staged a public fracas, sending a group of thugs to seize the scenery during a performance. Stagehands managed to ward off their backstage attackers. This event cleared the way for Carte, in alliance with Gilbert and Sullivan, to form the D'Oyly Carte Opera Company, which then produced all their succeeding operas. The libretto of H.M.S. Pinafore relied on stock character types, many of which were familiar from European opera (and some of which grew out of Gilbert's earlier association with
8162-498: The public." Setting the opera in Japan, an exotic locale far away from Britain, allowed Gilbert and Sullivan to satirise British politics and institutions more freely by clothing them in superficial Japanese trappings. Gilbert wrote, "The Mikado of the opera was an imaginary monarch of a remote period and cannot by any exercise of ingenuity be taken to be a slap on an existing institution." G. K. Chesterton compared it to Swift 's Gulliver's Travels : "Gilbert pursued and persecuted
8268-399: The rest of his career, in tandem with his theatrical conducting work. Cellier married Clara Short in 1873. They had five daughters and a son, François, who became an actor under the name of Frank Cellier and was the father of the actor Peter Cellier . In July 1878 Cellier succeeded his brother Alfred as the conductor of Gilbert and Sullivan 's H.M.S. Pinafore during its long run at
8374-435: The run of Iolanthe , in 1883, Sullivan was knighted by Queen Victoria . Although it was the operas with Gilbert that had earned him the broadest fame, the honour was conferred for his services to serious music. The musical establishment, and many critics, believed that this should put an end to his career as a composer of comic opera – that a musical knight should not stoop below oratorio or grand opera . Sullivan, despite
8480-719: The set, and he was noted for his attempts to calm the audience during the fracas. His brother, François , succeeded him as musical director at the Opera Comique in 1879. Alfred Cellier was a conductor of a series of promenade concerts at the Queen's Theatre, Long Acre and, in 1878–1879 he was joint conductor, with Sullivan, of the Covent Garden Promenade Concerts. In 1879, he travelled with Gilbert, Sullivan, and Carte to America, where he acted as conductor for Pinafore and The Pirates of Penzance , with Carte's first American touring company. Cellier prepared
8586-470: The team. Gilbert and Sullivan scored their first international hit with H.M.S. Pinafore (1878), satirising the rise of unqualified people to positions of authority and poking good-natured fun at the Royal Navy and the English obsession with social status (building on a theme introduced in The Sorcerer , love between members of different social classes). As with many of the Gilbert and Sullivan operas,
8692-471: The treatment of the woodwind compel admiring attention. Schubert himself could hardly have handled those instruments more deftly, written for them more lovingly.... We place the songs and choruses in The Yeomen of the Guard before all his previous efforts of this particular kind. Thus the music follows the book to a higher plane, and we have a genuine English opera.... Yeomen was a hit, running for over
8798-420: The two first collaborated, Gilbert continued to write humorous verse, stories and plays, including the comic operas Our Island Home (1870) and A Sensation Novel (1871), and the blank verse comedies The Princess (1870), The Palace of Truth (1870) and Pygmalion and Galatea (1871). Sullivan was born in London on 13 May 1842. His father was a military bandmaster, and by the time Arthur had reached
8904-415: The work and both Gilbert and, especially, Sullivan: "Sir Arthur Sullivan has eminently succeeded alike in the expression of refined sentiment and comic humour. In the former respect, the charm of graceful melody prevails; while, in the latter, the music of the most grotesque situations is redolent of fun." Further changes were made, including a new overture, when Rupert D'Oyly Carte revived Ruddigore after
9010-556: The work to find success after it transferred in December to the Prince of Wales Theatre . The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest and Ben Davies , who made Dorothy an even greater success at the box office. It transferred in December 1888 to the Lyric Theatre , built using the profits from the production, where it ran into 1889. Its initial run of
9116-467: The world's first public building) to be lit entirely by electric lighting. Patience moved into the Savoy after six months at the Opera Comique and ran for a total of 578 performances, surpassing the run of H.M.S. Pinafore . Iolanthe (1882) was the first of the operas to open at the Savoy. The fully electric Savoy made possible numerous special effects, such as sparkling magic wands for the female chorus of fairies. The opera poked fun at English law and
9222-624: The young male voices. The theatrical newspaper The Era commented that although his other commitments left him short of time for composition, as a songwriter Cellier was "very favourably known". His published songs in the catalogue of the British Library are: "From Dawn to Dawn" (words by R. J. Martin, 1898); "Sad 'tis to Part" (words by W. S. Beadle, 1889); "The Polo Song" (words by "Marksman", 1901); "No Fear!" (words by R. J. Martin, 1903); and four songs with words by Bridgeman: "Coquet and Coy" (1887); "Hampton Courtship" (1887); "'Tis For
9328-611: The younger Gilbert began writing illustrated stories, poems and articles of his own, many of which would later be mined as inspiration for his plays and operas, particularly Gilbert's series of illustrated poems, the Bab Ballads . In the Bab Ballads and his early plays, Gilbert developed a unique "topsy-turvy" style in which humour was derived by setting up a ridiculous premise and working out its logical consequences, however absurd. Director and playwright Mike Leigh described
9434-492: Was Cox and Box (1866), written with the librettist F. C. Burnand for an informal gathering of friends. Public performance followed, with W. S. Gilbert (then writing dramatic criticism for the magazine Fun ) saying that Sullivan's score "is, in many places, of too high a class for the grotesquely absurd plot to which it is wedded." Nonetheless, it proved highly successful, and is still regularly performed today. Sullivan and Burnand's second opera, The Contrabandista (1867)
9540-559: Was a Cockney businessman who happened to be a sorcerer, a purveyor of blessings (not much called for) and curses (very popular). Gilbert and Sullivan were tireless taskmasters, seeing to it that The Sorcerer (1877) opened as a fully polished production, in marked contrast to the under-rehearsed Thespis . While The Sorcerer won critical acclaim, it did not duplicate the success of Trial by Jury . Nevertheless, it ran for more than six months, and Carte and his syndicate were sufficiently encouraged to commission another full-length opera from
9646-460: Was absent from London during the productions of The Carp , at the Savoy, and Dorothy . Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped
9752-530: Was another big success with both critics and audiences. Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, without success. Nevertheless, Pirates was a hit both in New York, again spawning numerous imitators, and then in London, and it became one of the most frequently performed, translated and parodied Gilbert and Sullivan works, also enjoying successful 1981 Broadway and 1982 West End revivals by Joseph Papp that continue to influence productions of
9858-481: Was appointed musical-director-in-chief at Richard D'Oyly Carte 's Royal English Opera House for the runs of Sullivan's Ivanhoe and Messager's La Basoche in 1891–92. In the 1890s Cellier began conducting D'Oyly Carte Opera Company productions outside London. In 1890 he took charge of the first provincial performances of The Gondoliers , and in 1894 he conducted a touring company presenting Princess Ida and Utopia, Limited . In 1902–03 he led
9964-557: Was born in South Hackney , London, the youngest of the five children of Arsène Cellier, a language teacher from France, and his wife Mary Ann Peterine, formerly Peacock, née Thomsett. He followed his eldest brother Alfred as a chorister at the Chapel Royal, St James's . Like his brother, and the latter's fellow pupil Arthur Sullivan , François benefited from the tutelage of the Rev Thomas Helmore , who ensured that
10070-400: Was cemented, and each opera would make use of these stock character types. Before The Sorcerer , Gilbert had constructed his plays around the established stars of whatever theatre he happened to be writing for, as had been the case with Thespis and Trial by Jury . Building on the team he had assembled for The Sorcerer , Gilbert no longer hired stars; he created them. He and Sullivan selected
10176-701: Was conductor and musical director at the Prince's Theatre in Manchester . During this period he composed many comic operas and operettas , the first of which was Charity Begins at Home (1872 at the Gallery of Illustration ), with the librettist B. C. Stephenson . The piece was a success and played more than 200 times. A reviewer in the London and Provincial Entr'Acte wrote that the music "is unexpectedly apropos and pretty ... and we have no hesitation in saying that Mr. Alfred Cellier's melodies will live even after
10282-401: Was delighted with it; Trial by Jury was composed and staged in a matter of weeks. The piece is one of Gilbert's humorous spoofs of the law and the legal profession, based on his short experience as a barrister . It concerns a breach of promise of marriage suit. The defendant argues that damages should be slight, since "he is such a very bad lot," while the plaintiff argues that she loves
10388-508: Was educated at the grammar school in Hackney. From 1855 to 1860, he was a chorister at the Chapel Royal , St. James's, under the Rev. Thomas Helmore , where Arthur Sullivan was one of his schoolmates. Cellier later married Harriet Emily. Cellier's brother, François , also became a conductor. Cellier's first appointments were as organist at All Saints' Church, Blackheath and as conductor of
10494-414: Was in disrepute. Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or " entertainments ", for Thomas German Reed . At a rehearsal for one of these entertainments, Ages Ago , in 1870, the composer Frederic Clay introduced Gilbert to his friend, the young composer Arthur Sullivan . Over the next year, before
10600-782: Was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury , London, at the age of 47. He was buried in West Norwood Cemetery . Gilbert and Sullivan Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore , The Pirates of Penzance and The Mikado are among
10706-468: Was not as successful. In 1871, producer John Hollingshead brought Gilbert and Sullivan together to produce a Christmas entertainment, Thespis , at his Gaiety Theatre , a large West End house. The piece was an extravaganza in which the classical Greek gods, grown elderly, are temporarily replaced by a troupe of 19th-century actors and actresses, one of whom is the eponymous Thespis , the Greek father of
10812-568: Was performed at the Crystal Palace in 1862 and was an immediate sensation. He began building a reputation as England's most promising young composer, composing a symphony, a concerto, and several overtures, among them the Overture di Ballo , in 1870. His early major works for the voice included The Masque at Kenilworth (1864); an oratorio , The Prodigal Son (1869); and a dramatic cantata , On Shore and Sea (1871). He composed
10918-521: Was something new to many actors of the day. Sullivan personally oversaw the musical preparation. The result was a crispness and polish new to the English musical theatre. Jessie Bond wrote later: H.M.S. Pinafore ran in London for 571 performances, an exceptional run for the period. Hundreds of unauthorised, or "pirated", productions of Pinafore appeared in America. During the run of Pinafore , Richard D'Oyly Carte split up with his former investors. The disgruntled former partners, who had invested in
11024-652: Was still in Africa. Bob was also played by D'Oyly Carte touring companies in 1903–04. In December 1904 Cellier conducted a short-lived comic opera, Ladyland , by Eustace Ponsonby and Frank Lambert at the Avenue Theatre . In July 1905 he rejoined the D'Oyly Carte company, until retiring, in 1913, as musical director of the touring repertory company and, at the Savoy, conducting the London repertory seasons of Gilbert and Sullivan operas in 1906–07 and 1908–09. In addition to Bob , which never played at
11130-417: Was the booking manager for Oscar Wilde , a then lesser-known proponent of aestheticism, and dispatched him on an American lecture tour in conjunction with the opera's U.S. run, so that American audiences might better understand what the satire was all about. During the run of Patience , Carte built the large, modern Savoy Theatre , which became the partnership's permanent home. It was the first theatre (and
11236-453: Was unable to finish The Mountebanks , and Ivan Caryll completed the score. A reviewer of the 2018 recording of The Mountebanks commented: "There is a free-flowing style to Cellier’s compositions, with fine lyrical detail and sumptuous orchestration with which he provides a wide variety of musical effects." Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he
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