116-505: The Gondoliers; or, The King of Barataria is a Savoy Opera , with music by Arthur Sullivan and libretto by W. S. Gilbert . It premiered at the Savoy Theatre on 7 December 1889 and ran for a very successful 554 performances (at that time the fifth longest-running piece of musical theatre in history), closing on 30 June 1891. This was the twelfth comic opera collaboration of fourteen between Gilbert and Sullivan . The story of
232-564: A Jew, enters and asks for shelter. Although Cedric considers Jews to be accursed, he offers Isaac hospitality according to the Saxon tradition. A squire announces Sir Brian de Bois Guilbert, of the Knights Templar, and Maurice de Bracy, a knight and advisor to Prince John, who are on their way to a Royal tournament at Ashby de la Zouche. They are Normans, and Cedric, a Saxon, loathes them. However, they too are granted hospitality. Ivanhoe
348-562: A Knight and, begging him to save Ivanhoe, she promises to pray for de Bracy. After they have left, Sir Brian enters, and declares passionately his intention to woo, and win, Rebecca. Scene 3: A Turret Chamber in Torquilstone Ulrica warns Rebecca that she faces an evil and dark fate, and that death is the only path to safety. The despondent Rebecca prays for God's protection. Sir Brian enters, intent on winning Rebecca. He asks her to submit to him, promising to raise her to
464-542: A battle Gilbert had in 1884 with Lillian Russell when, in fact, those expenses had already been paid. When Gilbert discovered this, he asked for a retraction of the affidavit; Sullivan refused. Gilbert felt betrayed. Sullivan felt that Gilbert was questioning his good faith, and Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House (now
580-453: A better term, I suppose we must call 'grand opera,' I cannot believe that it would succeed either at the Savoy or at Carte's new theatre.... Moreover, to speak from my own selfish point of view, such an opera would afford me no chance of doing what I best do – the librettist of a grand opera is always swamped in the composer. Anybody – Hersee, Farnie , Reece – can write a good libretto for such
696-522: A book was published about Ivanhoe and its 19th-century "precursors" by Jeff S. Dailey, based on his 2002 doctoral dissertation for New York University . Dailey offers explanations of why Scott's novels, Ivanhoe in particular, were frequently adapted. He discusses the text and music of the opera. In the chapter on criticism of the opera (Chapter 9), he notes that Ivanhoe received generally favourable reviews early on, except from George Bernard Shaw , but that later critics, some of whom probably never saw
812-592: A chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important. The following table lists the known companion pieces that appeared at the Opera Comique or the Savoy Theatre during the original runs and principal revivals of the Savoy Operas through 1909. There may have been more such pieces that have not yet been identified. In
928-576: A compelling case for a monumental work that deserves a modern audience." The album charted at #5 on the Specialist Classical Chart for the week ending 6 February 2010 Andrew Lamb wrote in The Gramophone that the success of the recording is due to Lloyd-Jones's "dramatic pacing", that the three key roles of Ivanhoe, Rebecca and Sir Brian are well cast. Raymond Walker agreed: "David Lloyd-Jones must be congratulated for
1044-632: A feast with Friar Tuck and challenges him to a song contest. The King sings "I ask nor wealth nor courtier's praise", while the Friar sings "Ho, jolly Jenkin" (which is the most popular detached excerpt from the opera). Locksley (Robin Hood) enters with the urgent message that Cedric and Rowena have been captured by de Bracy and Sir Brian, and the wounded Ivanhoe, travelling with Isaac and his beautiful daughter Rebecca, have also been captured. All are imprisoned at Torquilstone. The King, Locksley, Friar Tuck and all
1160-501: A foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern musical . Gilbert, Sullivan, Carte and other Victorian era British composers, librettists and producers, as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of
1276-471: A game of blind man's buff. They appear to be cheating by peeking out from under their blindfolds, however. Eventually, from the crowd of maidens, Giuseppe picks Tessa, and Marco picks Gianetta – "Just the very girl I wanted!" (although the two then politely offer to switch girls). All leave to go to church for the double wedding. His Grace the Duke of Plaza Toro (Count Matadoro, Baron Picadoro), Her Grace
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#17327906567191392-476: A king, they can return happily to Venice with their wives. There is a final dance for the full company, reprising the gondoliers' Act I duet and the cachucha. The Gondoliers was immediately a hit in London, playing for 554 performances, the fourth longest of the series (after The Mikado , H.M.S. Pinafore and Patience ). It earned more money than any other Savoy opera in its original run. 20,000 copies of
1508-452: A lesson in etiquette, the two Palmieri brothers are left alone with Casilda. She agrees to be an obedient wife, but warns them that she is "over head and ears in love with someone else." Seizing this opportunity, the two men introduce their wives. The three ladies and two men sing a quintet about their unprecedented predicament. Don Alhambra brings in the nurse who had tended the infant prince of Barataria twenty years ago. She reveals that when
1624-461: A number of cases, the exact opening and closing dates are not known. Date ranges overlap, since it was common to rotate two or more companion pieces at performances during the same period to be played with the main piece. Many of these pieces also played elsewhere (and often on tour by D'Oyly Carte touring companies). Only the runs at the Opera Comique and the Savoy are shown here. *Indicates an approximate date. Ivanhoe (opera) Ivanhoe
1740-546: A pair of gondoliers , Marco and Giuseppe Palmieri. These two gondoliers are so gallant and peerless in their manly beauty that the maidens are waiting for them to select brides before they can consider other suitors. A large group of merry gondoliers enter, saying that they adore the girls, but the ladies explain that the two brothers must choose first. When the Palmieri brothers enter, the ladies present them with flowers. The two gondoliers amiably offer to pick their brides in
1856-480: A purpose; personally, I should be lost in it. Again, the success of the Yeoman [ sic ] – which is a step in the direction of serious opera – has not been so convincing as to warrant us in assuming that the public want something more earnest still. On 12 March, Sullivan responded, "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
1972-486: A school of his own, who in it was schoolmaster and pupil, who has never taught anybody but himself, and is never likely to have any imitator – this is the Gilbert the public want to see, and this is the Gilbert who on Saturday night was cheered till the audience was weary of cheering any more." There was a command performance of The Gondoliers for Queen Victoria and the royal family at Windsor Castle on 6 March 1891,
2088-425: 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." A series of increasingly acrimonious letters followed over the ensuing weeks, with Sullivan laying down new terms for the collaboration, and Gilbert insisting that he had always bent over backwards to comply with
2204-462: A single portion of rations between the two of them, and they miss their wives. Soon, however, all the ladies arrive, having risked the long sea voyage from Venice – they could no longer stand the separation. In delight, the reunited couples have a magnificent banquet and a dance (a cachucha). The Grand Inquisitor arrives at the ball to find that the Republican gondoliers have promoted everyone to
2320-405: A successful opening on 7 December 1889. Press accounts were almost entirely favourable, and the opera enjoyed a run longer than any of their other joint works except for H.M.S. Pinafore , Patience and The Mikado . Sullivan's old collaborator on Cox and Box (and the editor of Punch ), F. C. Burnand , wrote, "Magnificento! ... I envy you and W.S.G. being able to place a piece like this on
2436-490: A theatrical company, which Sullivan rejected (though a version of it would be resurrected in 1896 as The Grand Duke ), but he accepted an idea "connected with Venice and Venetian life, and this seemed to me to hold out great chances of bright colour and taking music. Can you not develop this with something we can both go into with warmth and enthusiasm and thus give me a subject in which (like The Mikado and Patience ) we can both be interested....?" Gilbert set to work on
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#17327906567192552-598: A window and describes the unfolding battle to the frustrated Ivanhoe, who complains that he is unable to participate. Ulrica sets the castle on fire. Sir Brian enters and carries off Rebecca. Ivanhoe is unable to protect her. At the last minute, King Richard enters the chamber and rescues Ivanhoe from the conflagration. Scene 2: In the Forest King Richard and Ivanhoe rest in a forest. De Bracy has been captured. The King sends him to Prince John with an ultimatum to surrender. Cedric and Rowena appear. At
2668-527: Is a romantic opera in three acts based on the 1819 novel by Sir Walter Scott , with music by Sir Arthur Sullivan and a libretto by Julian Sturgis . It premiered at the Royal English Opera House on 31 January 1891 for a consecutive run of 155 performances, a record for a grand opera . Later that year it was performed six more times, making a total of 161 performances. It was toured by Carl Rosa Opera Company in 1894–1895 but has rarely been performed since. The first complete, fully professional recording
2784-511: Is already married. The Duke and Duchess of Plaza Toro soon arrive with the beautiful Casilda. They are now dressed in style, and the Duke explains how he was applied for by the public under the Limited Liability Company Act, and how they now earn a very good living. Appalled, however, at the lack of pomp and ceremony with which they were received, he attempts to educate the two monarchs in proper royal behaviour. After
2900-435: Is herself in love with her father's servant. A subplot concerns the impoverished Duke attempting to improve his finances by forming a limited liability company . The Gondoliers was Gilbert and Sullivan's last great success. In this opera, Gilbert returns to 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
3016-474: Is now living in the mountains, married to "a highly respectable brigand". Don Alhambra says that he has located her and that she will be able to reveal which of the two gondoliers is the lost prince. If not, he says, "then the persuasive influence of the torture chamber will jog her memory." In the next scene, the two gondoliers have married Tessa and Gianetta, and as they are extolling the virtues of marriage, Don Alhambra arrives and informs them that one of them
3132-490: Is now the reigning queen of Barataria, and her parents have brought her to meet with the Grand Inquisitor to be introduced to her husband. We soon discover, however that Casilda is secretly in love with Luiz. Left alone together, she tells him of her infant marriage, and they resign themselves to a life forever apart, with only their happy memories to comfort them. When the Grand Inquisitor arrives, he explains that
3248-472: Is the King of Barataria, but no one knows which. Despite being Republicans, the gondoliers and their new wives are delighted, and agree to go to Barataria at once, acting as one individual until the actual king is identified. The Grand Inquisitor tells them, however, that ladies are not admitted until the actual king is identified, and then each couple can be reunited. The Grand Inquisitor neglects to mention that
3364-570: Is whether Londoners really want English opera at all.... Mr D'Oyly Carte is to be pitied, and it is hard to see how he can continue to throw his operatic pearls before those who do not value them. After all, the Englishman's opera-house is the music-hall." Notwithstanding Ivanhoe's initial success, the opera house was a failure, and later writers unfairly blamed Ivanhoe for this failure. It was, as critic Herman Klein observed, "the strangest comingling of success and failure ever chronicled in
3480-687: Is with them, in disguise. De Bracy asks after Cedric's fair ward, Rowena. Cedric replies hotly that his ward will only marry a Saxon. Ivanhoe tells of a tournament he witnessed in the Holy Land where the English knights soundly defeated the Templars. Sir Brian was beaten by Ivanhoe, whom he wishes to challenge again. Rowena and the disguised Ivanhoe, whom no one recognises, assure Sir Brian that Ivanhoe will meet his challenge. After Rowena exits, Sir Brian and de Bracy agree that they will abduct her after
3596-553: The Carl Rosa Opera Company from December 1894 to June 1895 in a cut version (the opera originally ran almost four hours). The cast changed during the tour; at some performances the role of Maurice de Bracy was taken by W. H. Stephens, who had created the role of Locksley at the Royal English Opera House. Carl Rosa again toured the piece later in 1895, and at some performances (for example at
The Gondoliers - Misplaced Pages Continue
3712-462: The Carl Rosa Opera Company produced many of these in the late 1870s and 1880s. Arthur Sullivan had long dreamed of writing a grand opera in what he called an "eclectic" style that would build on the existing European styles. In an 1885 interview, he said: During the late 1870s and through the 1880s, Richard D'Oyly Carte had earned great success by producing the Gilbert and Sullivan operas. By
3828-561: The D'Oyly Carte Opera Company at the Savoy Theatre . No expense was spared to make the production a success, including "every imaginable effect of scenic splendour". The opera ran for an unprecedented 155 consecutive performances and had strong revenues at first. It received very favourable press, with a few reports expressing reservations about the libretto. Of more than a dozen opening night reviews, only Shaw's and Fuller Maitland 's reviews were negative. Ivanhoe closed in July, when
3944-572: The Palace Theatre ), to produce Sullivan's only grand opera , Ivanhoe . After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy. Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte. But the partnership had been so profitable that Carte eventually sought to reunite the dramatist and composer. After many failed attempts by Carte and his wife, Gilbert and Sullivan reunited through
4060-806: The Royal Court Theatre, Liverpool , on 21 March 1896) Rebecca was sung by Esther Palliser, who had played Rowena (and later Rebecca ) in London in 1891. A production in Berlin in November 1895 generated no further interest, but a concert performance was given at the Crystal Palace in 1903. Afterwards, apart from two performances in Sir Thomas Beecham 's 1910 season at the Royal Opera House , Ivanhoe disappeared from
4176-462: The Theatre Royal, Drury Lane ), were underutilised. During 1890, Carte contacted several composers, including Frederick Cowen , asking them to compose operas to succeed Ivanhoe in the new house. Sullivan asked his usual collaborator W. S. Gilbert to supply the libretto for a grand opera, but Gilbert declined, writing that in grand opera the librettist's role is subordinate to that of
4292-552: The saltarello and the tarantella , and from Venice itself the Venetian barcarolle '." Of Gilbert's contribution, the Illustrated London News reported, "Mr. W. S. Gilbert has returned to the Gilbert of the past, and everyone is delighted. He is himself again. The Gilbert of The Bab Ballads , the Gilbert of whimsical conceit, inoffensive cynicism, subtle satire, and playful paradox; the Gilbert who invented
4408-439: The 1871 opera Thespis – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D'Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Nevertheless, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith . The Oxford English Dictionary defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at
4524-424: The 1880s the relationship among Gilbert, Sullivan and Carte had been strained. In April 1890, during the run of The Gondoliers , Gilbert discovered that maintenance expenses for the theatre, including a new £500 (equivalent to £69,506 in 2023) carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert confronted Carte, but the producer refused to reconsider
4640-700: The Box, the Lord High Vagabond in the Stocks". All the men then set sail for Barataria, leaving their wives behind in Venice. In Barataria, the gondolier-courtiers are all enjoying living under "a monarchy that's tempered with Republican equality". Marco and Giuseppe have been doing all the work around the palace for the past three months – it is the privilege of royalty! They are happy enough with this arrangement, except that they are worried about having to share
4756-544: The Disinherited Knight, challenges Sir Brian. In a fierce clash, Ivanhoe again defeats Sir Brian, but is himself wounded. Ignoring Ivanhoe's protest, a Herald removes his helmet at Prince John's command so that he may be crowned victor of the tournament, and he is recognised by Cedric and Rowena. Scene 1: Friar Tuck's Hut, in the Forest at Copmanhurst King Richard, who is in hiding after his escape, shares
The Gondoliers - Misplaced Pages Continue
4872-529: The Duchess, their beautiful daughter Casilda, and their drummer, Luiz, now arrive in Venice from Spain. They have come to meet Don Alhambra del Bolero, the Grand Inquisitor of Spain. As Luiz goes to announce the Duke's presence, the Duke and Duchess tell their daughter a secret that they have kept for twenty years – when she was only six months old, she was married to the infant son and heir of
4988-769: The Duke. There was also a production by the New Sadler's Wells Opera in February 1984, with John Fryatt as the Duke and Donald Adams as Don Alhambra. A Mafia-themed adaptation of the opera, by John Doyle and Sarah Travis , was given at the Watermill Theatre and transferred to the Apollo Theatre in the West End in 2001. The production utilised Doyle's signature conceit of the actors playing their own orchestra instruments. The following table shows
5104-502: The G&;S pieces, or to fill the theatre when no G&S piece was available. To his contemporaries, the term "Savoy Opera" referred to any opera that appeared at that theatre, regardless of who wrote it. Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the Savoy Theatre from the date it opened (10 October 1881) until The Gondoliers closed on 20 June 1891. Over
5220-438: The Grand Inquisitor came to steal the prince, she had loyally hidden him away, and given Don Alhambra her own young son instead. Thus, the king is neither Marco nor Giuseppe, but her own son, Luiz. This resolves the romantic entanglements to everyone's satisfaction. Casilda finds that she is already married to the man she loves, Luiz. The two gondoliers surrender their crown to Luiz and, though a bit disappointed that neither will be
5336-613: The Guard . On 9 January 1889, three months into that opera's fourteen-month run, Sullivan informed the librettist that he "wanted to do some dramatic work on a larger musical scale", that he "wished to get rid of the strongly marked rhythm , and rhymed couplets, and have words that would have a chance of developing musical effects ." Gilbert counselled strongly that the partnership should continue on its former course: I have thought carefully over your letter, and while I quite understand and sympathize with your desire to write what, for want of
5452-475: The King is married to Casilda, fearing that it would cause the men to refuse to leave their new wives. As the two wives are imagining what it will be like to be a queen, their friends enter, and Marco and Giuseppe announce their discovery and promise to reign in a Republican fashion. They announce that in their kingdom, "All shall equal be" and will create new posts such as "the Lord High Coachman on
5568-418: The King of Barataria. She is indignant, since the union was conducted without her consent. The infant prince was taken from his home by the Grand Inquisitor, after the king of Barataria became a Wesleyan Methodist "of the most bigoted and persecuting type", and taken to Venice. The King of Barataria was recently killed in an insurrection, and the hidden prince is now king. As the wife of the new king, Casilda
5684-485: The King's urging, Cedric is reconciled with Ivanhoe and agrees to Ivanhoe's marriage with Rowena. Isaac enters in haste. The Templars have accused Rebecca of witchcraft for supposedly bewitching the Christian Knight to betray his Order and his vows, and making him fall in love with an accursed Jewess. They have sentenced her to burn at the stake. Ivanhoe rushes out to rescue her. Scene 3: The Preceptory of
5800-473: The New Park Theatre on 7 January 1890 and was immediately panned. Gilbert "refused to indorse [ sic ] the company sent to New York ... because he considered the company a 'scratch' one." Carte came to New York to investigate and closed the production on 13 February. He brought in replacements for most of the cast, and remounted the production at Palmer's Theatre on 18 February. However,
5916-610: The Opera Australia orchestra on The Power of Love – British Opera Arias (1999, Melba MR 30110). The first complete, fully professional recording of Ivanhoe was released in February 2010, with David Lloyd-Jones conducting the BBC National Orchestra of Wales, on the Chandos Records label. The cast features Toby Spence , Neal Davies, Geraldine McGreevy and Janice Watson. The BBC's review of
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#17327906567196032-483: The Prince and Princess of Wales and other members of the royal family in attendance. The production was lavish: An orchestra of 64 players, 72 choristers and 120 supernumeraries were employed. Percy Anderson designed the costumes, Hawes Craven and others designed the sets, staging was by Hugh Moss, and François Cellier and Ernest Ford alternated as conductors. Ford also arranged the piano score for Ivanhoe . In
6148-402: The Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre". The following table shows all of the full-length operas that could be considered "Savoy Operas" under any of
6264-405: The Templars from English soil. The Gramophone calls Ivanhoe "one of the most important works in the history of British opera". The Gramophone quoted conductor David Lloyd-Jones as saying that in writing the opera, "Sullivan ... was very much in touch with all the music of his time.... There are bits which are definitely Wagnerian: the use of dotted rhythms, always in 4/4 time – you get
6380-500: The Templars, Templestowe The funeral pyre has been built. Rebecca will be burned at the stake unless a champion is willing to fight for her. Sir Brian urges them to relent, but the Templars take his irrational passion as further evidence of her witchcraft. Sir Brian offers to save her if she will agree to be his, but Rebecca refuses. Rebecca is bound to the stake. The exhausted Ivanhoe arrives with his sword drawn, offering to fight for her. Rebecca tries to dissuade him, fearing that
6496-451: The absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, Utopia Limited . As in several of their earlier operas, by setting the work comfortably far away from England, Gilbert was emboldened to direct sharper criticism at the nobility and the institution of the monarchy itself. The Gondoliers was preceded by the most serious of the Gilbert and Sullivan collaborations, The Yeomen of
6612-418: The accounts. Gilbert stormed out and wrote to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen D'Oyly Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." As scholar Andrew Crowther has explained: After all, the carpet was only one of a number of disputed items, and
6728-549: The album concludes, "This new account, boasting a strong cast of top British singers, is thoroughly committed, with vibrant playing from the BBC National Orchestra of Wales under the steady hand of David Lloyd-Jones. There are a few passages where inspiration seems to flag – either from composer or conductor – but in general this is a terrific achievement. From the lively pomp of the jousting scene, with its brilliant double chorus, to moments of exquisite tenderness and passion, to thrilling battles and powerful drama, this recording makes
6844-736: The composer's musical requirements. Gilbert tried to encourage his collaborator: You say that our operas are Gilbert's pieces with music added by you.... I say that when you deliberately assert that for 12 years you, incomparably the greatest English musician of the age – a man whose genius is a proverb wherever the English tongue is spoken – a man who can deal en prince with operatic managers, singers, music publishers and musical societies – when you, who hold this unparalleled position, deliberately state that you have submitted silently and uncomplainingly for 12 years to be extinguished, ignored, set aside, rebuffed, and generally effaced by your librettist, you grievously reflect, not upon him, but upon yourself and
6960-495: The composer, and that the public would, in any case, not accept a serious work from his pen. Gilbert recommended Julian Sturgis to write the libretto. Sturgis had written the libretto for Nadeshda by Arthur Goring Thomas (1885), which had been produced with success by Carl Rosa. Ivanhoe had been treated operatically previously, including an 1826 pastiche opera with music by Rossini and operas by Marschner in 1829, Pacini in 1832 and Nicolai in 1840. Both Sullivan and
7076-400: The critics noted that Scott's novel, with its many scenes, would make for a complex adaptation. Sturgis set to work on Ivanhoe in the spring or early summer of 1889. The libretto uses some of the language directly from the novel and does not change the basic story. However, in condensing the lengthy and action-packed novel for a stage work, the libretto relies on the audience's knowledge of
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#17327906567197192-671: The damage was done, and the production ran for just 103 performances in total. The New York press dubbed the opera "the gone-dollars." The first production on the European continent was given at the Theater an der Wien , Vienna (as Die Gondoliere ) on 20 September 1890. In Australia, its first authorised performance was on 25 October 1890 at the Princess Theatre, Melbourne , produced by J. C. Williamson . A new production, with new sets and costumes designed by Charles Ricketts ,
7308-419: The definitions mentioned above. Only first runs are shown. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the next table below. The fashion in the late Victorian era and Edwardian era was to present long evenings in the theatre, and so full-length pieces were often presented together with companion pieces. During the original runs of the Savoy Operas, each full-length work
7424-500: The efforts of their music publisher, Tom Chappell . In 1893, they produced their penultimate collaboration, Utopia, Limited , but The Gondoliers would prove to be Gilbert and Sullivan's last big hit. Utopia was only a modest success, and their final collaboration, The Grand Duke , in 1896, was a failure. After that, the two never collaborated again. The scene opens in Venice with 24 farm girls declaring their passionate love for
7540-511: The energetic pace he sets, never rushed but always advancing in a purposeful way." He also praised the singers and chorus. Richard Traubner was a dissenting voice. Though he praised the singers, he felt that many of the tempi were too rushed. In 2007, the Sir Arthur Sullivan Society published a booklet containing information about the opera including original articles, contemporary reviews and news articles. In 2008,
7656-423: The enterprise is a pecuniary success. The intention is to 'run' each opera, that is to say, to play it six times a week, at any rate at first. This is the only way in which the expenditure necessary to secure a proper representation in the matter of scenery and costumes can be recouped.... It rests with [the public] whether a National Opera House shall be established on a permanent basis or not. Thus, departing from
7772-558: The first New York production; otherwise, only first-night casts are shown. The 1927 Gondoliers is admired for its excellent cast. The 1961 D'Oyly Carte recording is a good stereo recording and includes complete dialogue. The 1957 Sargent/Glyndebourne and 1991 New D'Oyly Carte recordings are both musically well regarded. More recent professional productions have been recorded on video by the International Gilbert and Sullivan Festival . Savoy Opera Savoy opera
7888-417: The first performance of a Gilbert and Sullivan opera to be so honoured and the first theatrical entertainment to take place at Windsor since the death of Prince Albert thirty years earlier. With the exception of their first opera, Richard D'Oyly Carte produced every Gilbert and Sullivan opera and had built the Savoy Theatre specifically for productions of their shows. However, on several occasions during
8004-467: The history of British lyric enterprise!" Sir Henry Wood , who had been répétiteur for the production of Ivanhoe , recalled in his autobiography that "[if] Carte had had a repertory of six operas instead of only one, I believe he would have established English opera in London for all time. Towards the end of the run of Ivanhoe I was already preparing the Flying Dutchman with Eugène Oudin in
8120-463: The history of the D'Oyly Carte productions in London and New York during Gilbert's lifetime: The following tables show the casts of the principal early productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's 1982 closure. The roles of Ottavio and the Drummer Boy were credited only in the original production. Notable casting substitutions are shown for
8236-478: The hoary oratorio form popular in Victorian Britain ... with its plethora of hymn-like numbers interspersed with ballads of no particular interest and some strong ensembles." Traubner continues, "Sullivan's score would have been wonderful for a film, with its numerous Korngoldian fanfares and stirring, very English-national choruses. The long drinking scene in act 1, with its 'Glory to those who fight for
8352-501: The large house, and losses were mounting. Carte had commissioned new operas from Cowen, Herman Bemberg , Hamish MacCunn and Goring Thomas. Although Bemberg's opera Elaine was finished, and Cowen's Signa would be completed in March, Carte evidently had decided that producing these would be impracticable or too expensive and that he could not make a success of the new house. The Pall Mall Gazette wrote, "The question, then, uppermost
8468-527: The last Savoy Operas. Fitz-Gerald wrote his book, The Story of the Savoy Opera , in 1924, when these other pieces were still within living memory. But over the ensuing decades, the works produced at the Savoy by composers and librettists other than Gilbert and Sullivan were forgotten or infrequently revived. The term "Savoy Opera" came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan –
8584-421: The last new Savoy Opera was The Rose of Persia (music by Sullivan, libretto by Basil Hood ), which ran from 28 November 1899 – 28 June 1900. After Carte's death, his wife Helen Carte assumed management of the theatre. In 1901, she produced Sullivan's last opera, The Emerald Isle (finished after Sullivan's death by Edward German ), and during the run of that opera, she hired William Greet as manager of
8700-401: The late 1880s, perhaps encouraged by the operas produced by Carl Rosa, Carte aspired to do for grand opera what he had done for comic opera, with the assistance of Arthur Sullivan , who had long yearned to compose more serious works. In May 1888, Sullivan noted in his diary that, after a performance of his cantata The Golden Legend given at Albert Hall by command of Queen Victoria ,
8816-600: The music have included a 1973 revival by Joseph Vandernoot and his Beaufort Opera, which was recorded and broadcast by the BBC, and a concert by the Boston Academy of Music on 23 November 1991. Below are listed the roles in the opera. Alternative singers were provided for the chief roles – not as separate 'first' and 'second' casts, but in different mixtures: In 1891, the audience knew Scott's best-selling novel intimately. Sullivan and Sturgis relied on this fact, and so
8932-631: The name part. He would have been superb. However, plans were altered and the Dutchman was shelved." After a season of performances by Sarah Bernhardt , Carte was forced to sell the theatre. A consortium led by Sir Augustus Harris purchased the house, renaming it the Palace Music Hall and later the Palace Theatre of Varieties. The building is known today as the Palace Theatre . There was a successful touring revival of Ivanhoe by
9048-576: The new libretto by the early summer of 1889, and by the mid-summer Sullivan had started composing Act I. Gilbert provided Sullivan with alternative lyrics for many passages, allowing the composer to choose which ones he preferred. The long opening number (more than fifteen minutes of continuous music) was the librettist's idea, and it gave Sullivan the opportunity to establish the mood of the work through music. The costumes were designed by Percy Anderson and sets were by Hawes Craven , with choreography by Willie Warde . They worked all summer and autumn, with
9164-544: The new theatre. In April 1890, Gilbert had challenged Carte over partnership expenses at the Savoy Theatre, including a new carpet for the lobby. To Gilbert's surprise and indignation, Sullivan sided with Carte – after all, Carte was producing his opera – and Gilbert sued Carte and Sullivan in May. The lawsuit was ongoing during much of the period of composition of Ivanhoe , and Sullivan wrote to Gilbert in September 1890 that he
9280-411: The next decade, there were only two new G&S pieces ( Utopia Limited and The Grand Duke ), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D'Oyly Carte died on 3 April 1901. If the nexus of Carte and the Savoy Theatre is used to define "Savoy Opera," then
9396-437: The nobility. He explains that there must be a distinction between commoners and those of rank, warning that "when everyone is somebody, then no-one's anybody ". He then breaks the news that one of the gondoliers had married Casilda when a baby and therefore is an unintentional bigamist . The gondoliers attempt to console their wives, who are distraught to discover that neither one will be queen, and that one married someone who
9512-405: The noble art of which you are so eminent a professor. Gilbert offered a compromise that Sullivan ultimately accepted – that the composer would write a light opera for the Savoy, and a grand opera ( Ivanhoe ) for a new theatre that Carte was constructing for that purpose. Sullivan's acceptance came with the proviso that "we are thoroughly agreed upon the subject." Gilbert suggested an opera based on
9628-647: The novel and omits many scenes, also entirely omitting the characters of Gurth the Swineherd, Oswald, Cedric's manservant, some of King John's advisors, and Athelstane the Unready, among others. Richard Traubner , writes in Opera News , that "Sturgis's libretto, given his quotes from Scott and the quasi-medieval English, is still sketchy, and the complex story does not really move forward with any operatic satisfaction." While Sturgis worked on Ivanhoe , Sullivan
9744-538: The often risqué continental European operettas that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", " comic operas ", or both. However, the Penguin Opera Guides and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas. Gilbert and Sullivan's early operas played at other London theatres, and Patience (1881)
9860-538: The opening night programme, Carte set forth his goals: I am endeavouring to establish English Grand Opera at the New Theatre which I have built.... Whether [the experiment] will succeed or not depends on whether there is a sufficient number of persons interested in music and the drama who will come forward and fill the theatre.... I have made arrangements with other distinguished composers and authors to write operas to follow Ivanhoe , which operas will be produced if
9976-492: The opera concerns brothers Marco and Giuseppe Palmieri, a pair of Venetian gondoliers who are told that one of them is heir to the throne of the fictional kingdom of Barataria; until it can be discovered by the Grand Inquisitor which of them is the heir, they must rule jointly. Unbeknownst to the brothers, who have just married Venetian girls, the heir was wed in infancy to the daughter of the Spanish Duke of Plaza-Toro, who
10092-497: The opera house closed for the summer at the end of the opera season. When the house re-opened in November, after a delay, Carte produced André Messager 's La Basoche (with David Bispham in his first London stage performance) alternating in repertory with six more performances of Ivanhoe (which ran at a substantial loss this time), and then La Basoche alone, closing in January 1892. Though praised, La Basoche could not fill
10208-508: The opera intentionally dramatises disconnected scenes from the book and does not attempt to retell the whole story. This presents a challenge to modern audiences who may be far less familiar with the story. Scene 1: The Hall of Cedric of Rotherwood. Evening. As Cedric's men prepare supper, he laments the King's many journeys abroad, the scurrilous behaviour of the Norman knights, and the absence of his estranged son, Ivanhoe. Isaac of York,
10324-526: The outlaws rush off to rescue them. Scene 2: A Passageway in Torquilstone Cedric and Rowena are prisoners, and De Bracy plans to forcibly marry her. De Bracy tells them that Ivanhoe, Isaac and Rebecca, are also prisoners. He promises that Ivanhoe will be safe if Rowena and Cedric comply with his wishes. Cedric is prepared to sacrifice Ivanhoe, but Rowena begs him to be merciful to them, as well as to Ivanhoe. She appeals to his honour, as
10440-428: The prince was raised incognito by Baptisto Palmieri, a humble gondolier, who had a young son of his own about the same age. The gondolier was a drunkard and eventually forgot which boy was his own son and which boy was the prince of Barataria. The two boys (Marco and Giuseppe) grew up and now are both gondoliers themselves. Fortunately, the nurse who took care of the infant prince (and who happens to be Luiz's mother),
10556-602: The professional repertory, except for a week of performances in New York City at the Park Theatre by The Society of American Singers in 1919. The opera was broadcast twice on BBC Radio in 1929, with the London Wireless Orchestra conducted by Percy Pitt , who had conducted the 1910 performances. Stanford Robinson conducted another broadcast between the wars. The few modern performances of
10672-660: The published score were sold on publication, and over 70,000 copies of various arrangements were sold within a few days. D'Oyly Carte's "E" Company mounted the first provincial production on 19 February 1890 in Preston . From then on, it was never absent from the touring repertory until it was omitted from the final two seasons (September 1980–February 1982) before the closing of the D'Oyly Carte Opera Company . Percy Anderson refreshed his original costume designs in 1917, 1919 and 1928. The opera fared less well in New York. It opened at
10788-510: The queen said to him, "You ought to write a grand opera – you would do it so well!" Carte began building the Royal English Opera House in December 1888, and he commissioned Sullivan to write the venture's inaugural work. George Bernard Shaw wondered, in August 1889, about the wisdom of building a new opera house when the three existing ones ( Royal Opera House , Her Majesty's Theatre and
10904-423: The real issue lay not in the mere money value of these things, but in whether Carte could be trusted with the financial affairs of Gilbert and Sullivan. Gilbert contended that Carte had at best made a series of serious blunders in the accounts, and at worst deliberately attempted to swindle the others. It is not easy to settle the rights and wrongs of the issue at this distance, but it does seem fairly clear that there
11020-547: The stage in so complete a fashion." Leslie Baily notes, "The bubbling, champagne-quality of the libretto brought out the gayest Sullivan, and the Italian setting called up a warm, southern response from his own ancestry. The Graphic (14 December 1889) pointed out that the music contains not only an English idiom but 'the composer has borrowed from France the stately gavotte , from Spain the Andalusian cachucha , from Italy
11136-631: The theatre to unrelated parties until late 1906, when she produced the first of her two seasons of G&S revivals in repertory at the Savoy, with Gilbert returning to direct. In March 1909, Charles H. Workman leased the theatre, producing three new pieces, including one by Gilbert, Fallen Fairies (music by Edward German). The last of these Workman-produced works came in early 1910, Two Merry Monarchs , by Arthur Anderson , George Levy, and Hartley Carrick, with music by Orlando Morgan . The contemporary press referred to these works as "Savoy Operas", and S. J. Adair Fitz-Gerald regarded Workman's pieces as
11252-453: The theatre. Later that year, she leased the theatre to Greet, who then produced Ib and Little Christina , The Willow Pattern , a revival of Iolanthe , Merrie England (1902) and A Princess of Kensington (1903), each with a cast made up largely of Carte's Savoy company. Cyril Rollins and R. John Witts adopt A Princess of Kensington as the last of the Savoy Operas. After A Princess of Kensington closed in May 1903, Mrs. Carte leased
11368-546: The throne of kings and to cover her with jewels. She utterly rejects him and leaps on the parapet, threatening to jump. A bugle sounds, heralding the arrival of King Richard and his forces. Sir Brian rushes off to defend the castle. Scene 1: A Room in Torquilstone Ivanhoe, pale and weak from his wounds, thinks of his love for Rowena, and falls asleep. Rebecca, who is in love with Ivanhoe, enters to tend him. When they hear distant trumpets, Rebecca goes to
11484-582: The tournament at Ashby. Scene 2: An Ante-Chamber in the Hall at Rotherwood Rowena laments the absence of her lover, Ivanhoe. He enters, still disguised as a holy palmer. She tells him that she hopes to be with Ivanhoe again. Ivanhoe tells Isaac that he has overheard Sir Brian planning to seize him the next day. Isaac promises to equip Ivanhoe (whom he recognises as a knight) with a horse and armour, and Ivanhoe in turn promises that, if they fly Cedric's hall directly, Isaac will be safe with him. They leave for
11600-497: The tournament at Ashby. Scene 3: The Tournament at Ashby At the tournament, King Richard, disguised as the Black Knight, has made a great impression with his victories. Prince John enters with Rowena, who has been named Queen of Beauty for the tournament. The Prince shrugs off a message that his brother, the King, has escaped from France. The Prince asks for challengers to the Norman knights. Ivanhoe, now in disguise as
11716-546: The true Cross', and the 'Ho, Jolly Jenkin' ensemble with Friar Tuck, also referring to drinking, are the most exciting things in the opera. Sadly, the dramatic arias required for an opera to achieve universal popularity are largely absent. ... Rebecca's prayer does have a certain Near Eastern aroma". There have been few recordings of the opera. The 1973 revival by Beaufort Opera production was recorded and broadcast on 29 November 1973 by BBC Radio London . A 1989 recording
11832-425: The usual practice for grand opera to be presented in repertory, Carte presented Ivanhoe every night, with alternative singers being provided for the chief roles – not as separate 'first' and 'second' casts, but in different mixtures. One cast member who went on to a fine career was the young tenor , Joseph O'Mara , in the title role. R. Scott Fishe , a member of the chorus, later became a principal performer with
11948-422: The whiff of Meistersinger or Lohengrin , I think. There is, also, for example, a remarkable duet at the end of act 2, I would say Verdian in its sweep. There are, of course, the stand-up arias, never a full ensemble until right at the end. Rebecca's aria is a very interesting piece. Whenever she is singing he uses the cor anglais to stress the sort of Eastern quality, and Sullivan claimed that this theme
12064-438: The wounded knight cannot prevail. Sir Brian attacks Ivanhoe, who appears to be beaten. But as Sir Brian is about to strike the fatal blow, he falls dead, unable to survive the evil passions warring in his soul. The Templars regard this as proof of God's judgement and Rebecca's innocence, and she is freed. She gazes wistfully at Ivanhoe as he is reunited with Rowena, who has entered with Cedric and King Richard. The King banishes
12180-524: Was "physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds". Sullivan completed the score too late to meet Carte's planned production date, and costs mounted as the producer had to pay performers, crew and others, while the theatre sat empty. Sullivan was required to pay Carte a contractual penalty of £3,000 for his delay. Ivanhoe and The Royal English Opera House opened on 31 January 1891, with
12296-516: Was a style of comic opera that developed in Victorian England in the late 19th century, with W. S. Gilbert and Arthur Sullivan as the original and most successful practitioners. The name is derived from the Savoy Theatre , which impresario Richard D'Oyly Carte built to house the Gilbert and Sullivan pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve
12412-487: Was composing The Gondoliers , with a libretto by Gilbert, for the Savoy Theatre . After The Gondoliers opened and Sullivan took his annual holiday in Monte Carlo , he finally began the composition of Ivanhoe in May 1890, finishing the score in December 1890. Chorus rehearsals for Ivanhoe began in November, with Alfred Cellier as chorus master, and his brother François Cellier , who became musical director of
12528-515: Was made by The Prince Consort. A 1995-hour-long "compressed version" was recorded and presented by Roderic Dunnett (the Opera Now magazine reviewer) for his BBC Radio 3 Britannia at the Opera series. Beyond that, a 1998 CD, Sullivan & Co.: The Operas That Got Away features two songs from the opera, and two of the soprano arias were recorded by Deborah Riedel with Richard Bonynge and
12644-665: Was normally accompanied by one or two short companion pieces. A piece that began the performance was called a curtain raiser , and one that ended the performance was called an afterpiece. W. J. MacQueen-Pope commented, concerning the curtain raisers: This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses
12760-575: Was occupied by Lady Gilbert. Peter Goffin designed new touring sets in 1957, and another notable new production was staged by the company in 1958 at the Princes Theatre with sets and costumes by Goffin. In 1967, new costumes were designed by Luciana Arrighi , with new sets by John Stoddart . The first non-D'Oyly Carte professional production in the United Kingdom was given by Scottish Opera on 12 December 1968, with Ian Wallace as
12876-525: Was one he had heard as a student in Leipzig, when he had attended a service at the Synagogue there. You can tell, and he quickly establishes it in the music, that he was not writing an operetta! Look at this, very early on, some virtuoso stuff. It needs a really accomplished orchestra. He had always been cramped by the small orchestra, only ever one oboe, that he had to make do with at the Savoy. Here he
12992-421: Was prepared for the opening of the renovated Savoy Theatre on 21 October 1929. The critic Ernest Newman wrote: "It was a subtle stroke to open with The Gondoliers ; there is a peculiar richness of blood in the music of this work that makes the new theatre and the new designs and dresses by Mr. Charles Ricketts particularly appropriate." The performance was conducted by Malcolm Sargent , and the theatre's only box
13108-545: Was really able to expand, you can feel it in the music." Richard Traubner, writing in Opera News , disagrees: " Ivanhoe ... reflects the ballad-rich British grand operas Sullivan grew up with, by Balfe ( The Bohemian Girl ) or Wallace ( Maritana ). The skill and flair Sullivan exhibits in the Savoy operettas in humor, gaiety and superb word-setting are barely required in Ivanhoe . It sounds instead like an extension of
13224-577: Was released in 2010 on the Chandos Records label. After the days of Michael William Balfe and his contemporaries, the fashion in London, led by the Prince of Wales , was for opera houses to present mostly imported operas from Italy, France and Germany. English opera went into decline, and no through-composed operas were written in England after 1844 until 1874. After this, a few English composers wrote new operas in English, some with English themes, and
13340-473: Was something very wrong with the accounts at this time. Gilbert wrote to Sullivan on 28 May 1891, a year after the end of the "Quarrel", that Carte had admitted "an unintentional overcharge of nearly £1,000 in the electric lighting accounts alone." Things soon degraded, Gilbert lost his temper with his partners and brought a lawsuit against Carte. Sullivan supported Carte by making an affidavit erroneously stating that there were minor legal expenses outstanding from
13456-481: Was the first opera to appear at the Savoy Theatre, and thus, in a strict sense, the first true "Savoy Opera", although the term "Savoy Opera" has, for over a century, referred to all thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte. During the years when the Gilbert and Sullivan ("G&S") operas were being written, Richard D'Oyly Carte also produced, at the Savoy Theatre, operas by other composer–librettist teams, either as curtain raisers to
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