query: What was the first Gilbert and Sullivan opera?

title: The Story of Gilbert and Sullivan

text: cantata. He informs Sullivan that, if he would get around to finishing "The Golden Legend", Queen Victoria will attend the premiere. Likewise, when Gilbert calls on Sullivan, he sees him rehearsing "The Golden Legend", as Bennett stands watch. When Bennett dozes off, Sullivan turns back to "The Mikado". After both works debut, Sullivan is knighted. The Queen inquires if he will write a grand opera. Just before the premiere of their next opera, "Ruddigore", Sullivan asks Gilbert to write the libretto for his first grand opera. Gilbert declines, stating that in such a work the words play second fiddle to

title: Gilbert and Sullivan

text: place a piece like this on the stage in so complete a fashion." The opera enjoyed a run longer than any of their other joint works except for "H.M.S. Pinafore", "Patience" and "The Mikado". There was a command performance of "The Gondoliers" for Queen Victoria and the royal family at Windsor Castle in 1891, the first Gilbert and Sullivan opera to be so honoured. "The Gondoliers" was Gilbert and Sullivan's last great success. Gilbert and Sullivan sometimes had a strained working relationship, partly caused by the fact that each man saw himself as allowing his work to be subjugated to

title: Gilbert and Sullivan

text: There continue to be hundreds of amateur companies performing the Gilbert and Sullivan works worldwide. The first commercial recordings of individual numbers from the Savoy operas began in 1898. In 1917 the Gramophone Company (HMV) produced the first album of a complete Gilbert and Sullivan opera, "The Mikado", followed by recordings of eight more. Electrical recordings of most of the operas were then issued by HMV and Victor, beginning in the late 1920s, supervised by Rupert D'Oyly Carte. The D'Oyly Carte Opera Company continued to produce well-regarded recordings until 1979, helping to keep the operas popular through the decades. Many

title: Gilbert and Sullivan

text: Ida" showed signs of flagging, Carte realised that, for 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 a Japanese setting. Gilbert initially proposed a story for a new opera about a magic lozenge that would

title: Cultural influence of Gilbert and Sullivan

text: "Topsy-Turvy" (1999) is an award-winning film depiction of the team and the creation of their most popular opera, "The Mikado". Another G&S film is the 1953 "The Story of Gilbert and Sullivan" (or "The Great Gilbert and Sullivan" in the U.S.), starring Robert Morley as Gilbert and Maurice Evans as Sullivan, with Martyn Green as George Grossmith. In a short 1950 film called "The Return of Gilbert and Sullivan", Gilbert and Sullivan return to Earth to protest the jazz treatment of their work. In the 1951 film "The Magic Box" Sir Arthur Sullivan, played by the film conductor, Muir Mathieson,

title: The Story of Gilbert and Sullivan

text: time to take a triumphant curtain call before the enthusiastic crowd. Nevertheless, Sullivan is unhappy writing comic opera. When Gilbert proposes a new piece involving the device of a magic lozenge, Sullivan objects that he wants to devote himself to serious music. Sullivan's friend, critic Joseph Bennett, writes a libretto for a cantata based on Henry Wadsworth Longfellow's "The Golden Legend". Meanwhile, Gilbert, inspired by the sight of a Japanese sword hanging in his study, proposes a new plot, and Sullivan begins work. When Bennett goes to see Sullivan, he finds that "The Mikado" is being rehearsed instead of his

title: Gilbert and Sullivan

text: ancestor and the device of the ghostly ancestors stepping out of their portraits. When "Ruddigore" closed, no new opera was ready. Gilbert again proposed 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 a pair of strolling players—a jester and a singing girl—who are caught

title: The Story of Gilbert and Sullivan

text: is pleased by the acclaim that he receives for the music to the short comic opera "Trial by Jury", a collaboration with dramatist W. S. Gilbert. Grace leaves him, telling him that he is wasting his musical gifts on triviality, foreshadowing criticism from the musical establishment that will follow Sullivan for the rest of his career. Still wrestling with this dilemma, Sullivan joins Gilbert and the impresario Richard D'Oyly Carte in a partnership to create more light operas. Their subsequent operas, "The Sorcerer" and, especially, "H.M.S. Pinafore", become so popular that they are pirated extensively in America. The entire company

title: Gilbert and Sullivan

text: 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 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

title: Derby Gilbert & Sullivan Company

text: its first production, "The Mikado", received such a favourable response that they changed their name to Derby Gilbert & Sullivan Company to more clearly reflect the new city base and repertoire of the company. In the 1980s, the company played a couple of 'guest weeks' at the Buxton Opera House with "The Mikado" and later "The Yeomen of the Guard". Under the direction of co-founder Andrew Nicklin, the company began to build a reputation for presenting updated, or "non-traditional" G&S productions. Under Nicklin, the company took "The Mikado" to The International Gilbert and Sullivan Festival in Buxton, England, in 1996,

title: The Gilbert and Sullivan Light Opera Company of Long Island

text: a desire to try new projects and convinced that it had been depending too much upon “the Big Three,” the Company undertook a complete cycle of the works of Gilbert & Sullivan, beginning with Princess Ida in 1992 and concluding in 2004 with The Mikado. The Project, which has been an overwhelming success, has featured the Long Island premieres of four operas—Princess Ida, The Yeomen of the Guard, Utopia, Limited and The Grand Duke, as well as of the Sullivan/Stephenson operetta The Zoo. In 1995 the Company presented the world premiere of Gayden Wren’s A Gilbert & Sullivan Christmas Carol.

title: Gilbert and Sullivan

text: 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 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

title: Gilbert and Sullivan

text: put it. The "patter" baritone (or "principal comedian", as these roles later were called) would often assume 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 a revival of "Thespis" for the 1875 Christmas season, which Gilbert and Sullivan would have revised,

text: a confirmed Savoyard. He’d served as vice president of the New York Gilbert & Sullivan Society, and even produced a televised version of The Mikado in 1949. When Helen Marx, president of the Camp Avenue School PTA, asked him if he could organize a fundraiser, his thoughts turned—as they so often did—to Gilbert & Sullivan. Initially the idea was for Packer and Waters to run an adult-education class in G&S that would culminate in a performance of The Mikado. But when Packer recruited an old friend, Sally Buckstone of Oceanside, to sing, the seeds of a new group were planted.

text: Company stalwarts Al Grand, Bob Tartell and Elaine Lerner, and directed by Sally Buckstone, what eventually became the Gilbert & Sullivan Yiddish Light Opera Company of Long Island developed Der Yiddisher Pinafore, Di Yam Gazlonim and Der Yiddisher Mikado, Yiddish versions of the beloved “Big Three” Savoy operas. Touring nationally and internationally, it marked out a unique corner of the Gilbert & Sullivan universe and made it its own. Two landmarks defined the 1990s for the Company: One was the development of the Gilbert & Sullivan Light Opera Orchestra of Long Island, under the direction first of founding music director

text: The Gilbert and Sullivan Light Opera Company of Long Island The Gilbert and Sullivan Light Opera Company of Long Island is a 501(c)(3) non-profit organization whose mission is the promotion and performance of theater, musical theater and opera, including the works of Gilbert & Sullivan. The company is based in Long Island, New York and was founded in 1954. There had been Gilbert & Sullivan performances on Long Island since at least the 1920s, ranging from school shows to community-theater productions. But there had never been an ongoing Gilbert & Sullivan company in the area until the Gilbert & Sullivan

title: National Gilbert & Sullivan Opera Company

text: National Gilbert & Sullivan Opera Company The National Gilbert & Sullivan Opera Company (formerly the Gilbert & Sullivan Opera Company) is an English professional repertory company that performs Gilbert and Sullivan's Savoy operas. Founded in 1995 to perform at the International Gilbert and Sullivan Festival, the company generally stages three or four productions each summer, giving up to 16 performances in Harrogate, North Yorkshire, and also touring. The company performs full-scale productions of the Gilbert and Sullivan works, with orchestra, using period settings and costumes. Since 2010, in addition to its performances at the festival, the company has generally performed

text: scenery." A review of their "Princess Ida" was likewise effusive. Recordings of the company's productions are sold by the Festival on DVD. Some of the productions are also available on CD. National Gilbert & Sullivan Opera Company The National Gilbert & Sullivan Opera Company (formerly the Gilbert & Sullivan Opera Company) is an English professional repertory company that performs Gilbert and Sullivan's Savoy operas. Founded in 1995 to perform at the International Gilbert and Sullivan Festival, the company generally stages three or four productions each summer, giving up to 16 performances in Harrogate, North Yorkshire, and also touring. The company

text: Players, Charles Court Opera, and the festival's own National Gilbert & Sullivan Opera Company. In 1995, the operators of the International Gilbert and Sullivan Festival formed an opera company to provide festivalgoers with professional productions of the Savoy operas. The company was soon called the Gilbert & Sullivan Opera Company. It engaged such performers as Richard Suart, Simon Butteriss, Bruce Graham, Gillian Knight, Barry Clark, Michael Rayner, Jill Pert, Gareth Jones, Patricia Leonard, Donald Maxwell, Oliver White, Rebecca Bottone, Ian Belsey and the Opera Babes. John Owen Edwards, David Russell Hulme, David Steadman or Andrew Nicklin have usually served as

title: Gilbert and Sullivan

text: group formed in 1901 in Philadelphia, continues to perform today. In 1948, "Life" magazine reported that about 5,000 performances of Gilbert and Sullivan operas were given annually in the US, exceeding the number of performances of Shakespeare plays. After the copyrights on the operas expired, other professional companies were free to perform and record the operas. Many performing companies arose to produce the works, such as Gilbert and Sullivan for All in Britain and Light Opera Works in the U.S., and existing companies, such as English National Opera, Carl Rosa Opera Company and Australian Opera, added Gilbert and Sullivan to

title: Gilbert and Sullivan

text: 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 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

text: The premiere sold out, prompting the Company to revive it as a season fund-raiser for several years thereafter. The show, which tells the Charles Dickens story with new lyrics set to Gilbert & Sullivan songs, went on to score a hit Off-Broadway in 2001, and has now been staged more than 50 times throughout the United States and by groups in Canada, Great Britain and Macedonia. The Gilbert and Sullivan Light Opera Company of Long Island The Gilbert and Sullivan Light Opera Company of Long Island is a 501(c)(3) non-profit organization whose mission is the promotion and performance of theater,

title: Gilbert and Sullivan

text: outright failure. Neither work entered the canon of regularly performed Gilbert and Sullivan works until the D'Oyly Carte Opera Company made the first complete professional recordings of the two operas in the 1970s. Gilbert had also offered Sullivan another libretto, "His Excellency" (1894), but Gilbert's insistence on casting Nancy McIntosh, his protege from "Utopia", led to Sullivan's refusal, and "His Excellency" was instead composed by F. Osmond Carr. Meanwhile, the Savoy Theatre continued to revive the Gilbert and Sullivan operas, in between new pieces, and D'Oyly Carte touring companies also played them in repertory. After "The Grand Duke", the partners

text: Sullivan companies performed around the world. After 1961 other professional groups began to perform the operas in Britain. In 1994, the International Gilbert and Sullivan Festival was founded by Ian and his son Neil Smith partly to fill the gap left by the closure of D'Oyly Carte, and it has been held every August since then in England. On weeknights, the festival features a competition among amateur companies from all over the world. On weekends, however, the festival offers professional performances given by companies such as the Carl Rosa Opera Company, Opera della Luna, the New York Gilbert and Sullivan

title: Gilbert and Sullivan

text: Gilbert was questioning his good faith, and in any event, Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House, to produce Sullivan's only grand opera, "Ivanhoe". Gilbert brought suit, and after "The Gondoliers" closed in 1891, he withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy. Gilbert next wrote "The Mountebanks" with Alfred Cellier and the flop "Haste to the Wedding" with George Grossmith, and Sullivan wrote "Haddon Hall" with Sydney Grundy. Gilbert eventually won the lawsuit, but his actions and

title: Gilbert and Sullivan for All

text: Gilbert and Sullivan for All Gilbert and Sullivan for All was a touring concert and opera company, formed in 1963 by D'Oyly Carte Opera Company performers Thomas Round and Donald Adams and former director Norman Meadmore, and which exclusively performed the works of Gilbert and Sullivan, usually in concert, but sometimes giving full productions. They also recorded most of the Savoy operas both on video and audio. They continued to tour into the 1980s, occasionally reuniting for performances thereafter. Gilbert and Sullivan for All gave concert performances of highlights from the Savoy operas of Gilbert and Sullivan, and sometimes full

title: Gilbert and Sullivan

text: their repertories. In 1980, a Broadway and West End production of "Pirates" produced by Joseph Papp brought new audiences to Gilbert and Sullivan. Between 1988 and 2003, the revived D'Oyly Carte Opera Company revived the operas on tour and on the West End. Today, many professional repertory companies, such as NYGASP, Opera della Luna, Opera a la Carte, National Gilbert & Sullivan Opera Company Opera North, Ohio Light Opera and other small opera companies, and numerous amateur societies, churches, schools and universities continue to produce the works. The most popular G&S works also continue to be performed from time to

title: Gilbert and Sullivan

text: was knighted during the first repertory season. After Sullivan's death, Gilbert wrote only one more comic opera, "Fallen Fairies" (1909; music by Edward German), which was not a success. Gilbert died in 1911, and Richard's son, Rupert D'Oyly Carte, took over the opera company upon his step-mother's death in 1913. His daughter, Bridget, inherited the company upon his death in 1948. The D'Oyly Carte Opera Company toured nearly year-round, except for its many London seasons and foreign tours, performing exclusively the Gilbert and Sullivan operas, until it closed in 1982. During the 20th century, the company gave well over 35,000

title: Gilbert and Sullivan

text: 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" wrote: "Yeomen" was a hit, running for over a year, with strong New York and touring productions. During the run, on 12 March 1889, Sullivan wrote to Gilbert, Sullivan insisted that the next opera must be a grand opera. Gilbert did not feel that he could write a grand opera libretto, but

title: Gilbert and Sullivan for All

text: reunited for concert performances thereafter. Gilbert and Sullivan for All Gilbert and Sullivan for All was a touring concert and opera company, formed in 1963 by D'Oyly Carte Opera Company performers Thomas Round and Donald Adams and former director Norman Meadmore, and which exclusively performed the works of Gilbert and Sullivan, usually in concert, but sometimes giving full productions. They also recorded most of the Savoy operas both on video and audio. They continued to tour into the 1980s, occasionally reuniting for performances thereafter. Gilbert and Sullivan for All gave concert performances of highlights from the Savoy operas of Gilbert

title: Gilbert and Sullivan

text: a composer of comic opera—that a musical knight should not stoop below oratorio or grand opera. Sullivan, despite 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 a new comic opera on six months' notice. "Princess Ida" (1884) spoofed women's education and male chauvinism and continued

title: Gilbert and Sullivan

text: to commission another full-length opera from 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, 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

title: Gilbert and Sullivan

text: a Gilbert and Sullivan opera, such as in the film "The Girl Said No". There are also a number of Gilbert and Sullivan biographical films, such as Mike Leigh's "Topsy-Turvy" (2000) and "The Story of Gilbert and Sullivan" (1953), as well as shows about the partnership, including a 1938 Broadway show, "Knights of Song" and a 1975 West End show called "Tarantara! Tarantara!" It is not surprising, given the focus of Gilbert on politics, that politicians and political observers have often found inspiration in these works. Chief Justice of the United States William Rehnquist added gold stripes to his judicial

text: music directors for the company. In 2014, the festival registered the company with Companies House as the National Gilbert & Sullivan Opera Company. The company's performances are accompanied by the festival's National Festival Orchestra. It generally presents four productions each year at the festival, and the festival sells videos of most of its productions. In 2018, in connection with the 25th anniversary of the International G&S Festival, the company is presenting six productions in Harrogate, Buxton and on tour. Uniquely among professional companies in Britain, other than D'Oyly Carte, the National Gilbert & Sullivan Opera Company has presented all 13

title: Gilbert and Sullivan

text: 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 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

title: The Story of Gilbert and Sullivan

text: the same time, Gilbert has written a libretto for another comic opera. Sullivan also accepts this libretto, and "The Gondoliers" is another hit. Gilbert, suffering from gout, and in a particularly foul temper, examines the financial accounts of the partnership, seeing a large item for the purchase of a new carpet at the Savoy Theatre. He confronts Carte, at the new theatre, over lavish expenses. He also quarrels with Sullivan, and Gilbert announces that he will write no more Savoy operas. Sullivan's grand opera "Ivanhoe" debuts, and he presents a bound volume to the Queen. She commands a private performance

text: one or more of its productions in an additional venue either before or after the festival. Since 2014, it has toured some of its productions to multiple British cities in repertory, giving up to 42 performances on tour. The D'Oyly Carte Opera Company performed Gilbert and Sullivan's Savoy Operas continuously, year-round, for over a century, closing in 1982. Until the Gilbert and Sullivan copyrights expired in 1961, no other professional theatre or opera companies were allowed to present the Savoy Operas in Britain, although professional companies performed the operas in North America, Australia and elsewhere, and numerous amateur Gilbert and

title: Gilbert and Sullivan

text: saw no reason to work together again. A last unpleasant misunderstanding occurred in 1898. At the premiere of Sullivan’s opera "The Beauty Stone" on 28 May, Gilbert arrived at the Savoy Theatre with friends, assuming that Sullivan had reserved some seats for him. Instead, he was informed that Sullivan objected to his presence. The composer later denied that this was true. The last time they met was at the Savoy Theatre on 17 November 1898 at the celebration of the 21st anniversary of the first performance of "The Sorcerer". They did not speak to each other. Sullivan, by this time

title: International Gilbert and Sullivan Festival

text: Production" (for performers under 21) and a "Bus Pass Opera" production (for performers over 60). A "Unifest" competition among university groups is presented simultaneously, as part of the Festival fringe. While the amateur productions compete during weeknights at the Festival, there are weekend professional performances given by companies such as the Carl Rosa Opera Company, Opera della Luna, the New York Gilbert and Sullivan Players, Charles Court Opera, and the Festival's self-produced National Gilbert & Sullivan Opera Company, which has starred such well-known G&S performers as Richard Suart, Simon Butteriss, Bruce Graham, Gillian Knight, Barry Clark, Michael Rayner, Patricia Leonard,

title: New York Gilbert and Sullivan Players

text: the other founders were alumni of the Barnard Gilbert and Sullivan Society, a New York City college theatre group that presented the operas of Gilbert and Sullivan at Columbia University from 1948 to 1991. The nascent group's first performance was in Straus Park, on the Upper West Side of Manhattan, on July 14, 1974 as part of a street fair. In the early years of the company, singers were drawn from Columbia University and from the semi-pro New York theatre community, including Vincent La Selva's opera workshop, and sang without compensation. Originally called "West Side Gilbert & Sullivan Players", the

title: Gilbert and Sullivan

text: 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 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 was delighted with

title: Gilbert and Sullivan

text: Faris conducted video recordings of eleven of the operas (omitting the last two) with casts including show-business stars as well as professional singers. Joseph Papp's Broadway production of "The Pirates of Penzance" was put on record in 1981. Since 1994, the International Gilbert and Sullivan Festival has released numerous professional and amateur CDs and videos of its productions. Ohio Light Opera has recorded several of the operas in the 21st century. In the past 125 years, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world, and lines and quotations from their operas have become part of the

text: year for awards including "International Champion". At the weekends there are professional Gilbert and Sullivan performances, including performances each year by the Festival's homegrown National Gilbert & Sullivan Opera Company. A smaller nearby theatre and other venues host the Festival fringe, which consists of dozens of performances and lectures, a memorabilia fair, and other events. The Festival was founded in 1994 and continues to be produced by English businessman Ian Smith, his son Neil, and their family to preserve and enhance the knowledge, understanding and appreciation of the works of Gilbert and Sullivan. It also has a goal of reinstating

title: Gilbert and Sullivan

text: statements had been hurtful to his partners. Nevertheless, the partnership had been so profitable that, after the financial failure of the Royal English Opera House, Carte and his wife sought to reunite the author and composer. In late 1891, after many failed attempts at reconciliation, Gilbert and Sullivan's music publisher, Tom Chappell, stepped in to mediate between two of his most profitable artists, and within two weeks he had succeeded, eventually leading to two further collaborations between Gilbert and Sullivan. "Utopia, Limited" (1893), their penultimate opera, was a very modest success, and their last, "The Grand Duke" (1896), was an

title: Gilbert and Sullivan

text: copyrights expired at the end of 1961, and even afterwards, the D'Oyly Carte Opera Company influenced productions of the operas worldwide, creating a "performing tradition" for most of the operas that is still referred to today by many directors, both amateur and professional. Indeed, Gilbert, Sullivan and Carte had an important influence on amateur theatre. Cellier and Bridgeman wrote in 1914 that, prior to the creation of the Savoy operas, amateur actors were treated with contempt by professionals. After the formation of amateur Gilbert and Sullivan companies in the 1880s licensed to perform the operas, professionals recognised that the amateur

title: Gilbert and Sullivan

text: organist and composed numerous hymns, popular songs, and parlour ballads. Sullivan's first foray into comic opera was "Cox and Box" (1866), written with 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) was not as successful. In 1871, producer John Hollingshead brought

title: Gilbert and Sullivan

text: many of which were familiar from European opera (and some of which grew out of Gilbert's earlier association with 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 was cemented, and each opera would make use of these stock character types. Before "The Sorcerer", Gilbert had constructed his plays around the established

title: Gilbert and Sullivan

text: of trade between England and Japan, Japanese imports, art and styles became fashionable in 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 the public." Setting the opera in Japan, an exotic locale far away from Britain, allowed Gilbert and Sullivan to satirise British politics

title: Sullivan and Gilbert

text: Sullivan and Gilbert Sullivan and Gilbert is a jukebox musical by Ken Ludwig with music and lyrics by Gilbert and Sullivan. "Sullivan and Gilbert" features over 15 Gilbert and Sullivan songs. It examines a fictional day in 1890 when the Victorian era composer and dramatist, while embroiled in their 1890 "carpet quarrel", are requested by Queen Victoria to present a revue of songs from their operas on short notice. The musical premiered in 1983 in Milford, New Hampshire, and it has been revived several times in various places in North America. "Sullivan and Gilbert" premiered in 1983 in Milford, New

text: Night" as well as the 1997 film "Wilde". In the pilot episode of the 2008 CBS series, "Flashpoint", a police officer and his partner sing the policeman's song. In the 2009 "Criminal Minds" episode "The Slave of Duty", Hotch quotes "Oh dry the glist'ning tear". In addition to reminiscences, picture books and music books by performers, conductors and others connected with, or simply about, the D'Oyly Carte Opera Company, the Light Opera of Manhattan, the J. C. Williamson Gilbert and Sullivan Opera Company and other Gilbert and Sullivan repertory companies, numerous fictional works have been written using the G&S operas

title: Gilbert and Sullivan

text: used to an offending menial." As scholar Andrew Crowther has explained: Things soon degraded, a legal hearing was held, and Sullivan supported Carte by making an affidavit erroneously stating that there were minor legal expenses outstanding from a battle Gilbert had in 1884 with Lillian Russell. On 5 May 1890, Gilbert had written to Sullivan: "The time for putting an end to our collaboration has at last arrived." Gilbert later asked Sullivan to say he had been mistaken in his affidavit, but Sullivan refused. Gilbert felt it was a moral issue, and could not look past it. Sullivan felt that

title: Gilbert and Sullivan

text: 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 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

text: Mill Road School in Merrick, taking up residence at the Roland Chatterton School in Merrick, which remains its Tuesday-night home to the present day. The 1980s brought major changes to the group, beginning with its name: In 1980, due to a consensus that the group had evolved into something larger in scope and more professional than the word “Workshop” suggested, the group’s name was officially changed to The Gilbert & Sullivan Light Opera Company of Long Island. Two years later the first of the three founding members left the group, as Norman “Buddy” Packer retired to Coconut Creek, Fla., where

text: finale in his patchwork of stylistic creations "Clementine" ("full of words and music and signifying nothing", as Lehrer put it, thus parodying G&S and Shakespeare in the same sentence). Comedian Allan Sherman sang several parodies and pastiches of Gilbert and Sullivan songs in the 1960s, including: Anna Russell performed a parody called "How to Write Your Own Gilbert and Sullivan Opera." The Two Ronnies' Gilbert and Sullivan parodies include their 1973 Christmas special. In addition, numerous G&S song parodies and other references to G&S are made in the animated TV series, "Animaniacs", such as the "HMS Yakko" episode, which includes

title: Sullivan and Gilbert

text: to manage, and their producer, Richard D'Oyly Carte, micromanaging everything, the two men have much to argue about. But their admiration for each other as collaborators and friends triumphs. Sullivan and Gilbert Sullivan and Gilbert is a jukebox musical by Ken Ludwig with music and lyrics by Gilbert and Sullivan. "Sullivan and Gilbert" features over 15 Gilbert and Sullivan songs. It examines a fictional day in 1890 when the Victorian era composer and dramatist, while embroiled in their 1890 "carpet quarrel", are requested by Queen Victoria to present a revue of songs from their operas on short notice. The musical

text: G&S and the performing arts in schools in Britain. On several occasions, the Festival added a week of performances in the United States. The founders believe that the Gilbert and Sullivan works are an important national heritage and legacy, especially as performed in the tradition of the venerable, year-round D'Oyly Carte Opera Company, which performed Gilbert and Sullivan's Savoy Operas continuously, year-round, for over a century until 1982. When that company closed in 1982, greatly diminishing the amount of Gilbert and Sullivan produced in Britain, Ian Smith "had a burning anger" that the English Arts Council had not subsidised the

title: The Story of Gilbert and Sullivan

text: The Story of Gilbert and Sullivan The Story of Gilbert and Sullivan is a 1953 British technicolor film that dramatises the story of the collaboration between W. S. Gilbert and Arthur Sullivan. Gilbert and Sullivan wrote 14 comic operas, later referred to as the Savoy Operas, which became the most popular series of musical entertainments of the Victorian era and are still popular today. The film was written by Leslie Baily, Sidney Gilliat and Vincent Korda, based on Baily's "The Gilbert and Sullivan Book". It was directed by Sidney Gilliat, with cinematography by Christopher Challis and production design by Hein

title: Gilbert and Sullivan

text: of the opera. In 1880, Sullivan's cantata "The Martyr of Antioch" premiered at the Leeds Triennial Music Festival, with a libretto modified by 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 the cantata as an opera in 1898. "Patience" (1881) satirised the aesthetic movement in general and its colourful poets in particular, combining aspects of Algernon Charles Swinburne, Dante Gabriel Rossetti, Oscar Wilde, James McNeill Whistler and

title: Derby Gilbert & Sullivan Company

text: Derby Gilbert & Sullivan Company Derby Gilbert & Sullivan Company, based in Derby, England, produces the works of Gilbert & Sullivan. The company have won the amateur competition at the International Gilbert and Sullivan Festival an unprecedented six times and have been called "one of the most highly acclaimed nonprofessional theatre companies in the UK". Members of the company have earned many individual awards from that festival, and the company have won awards from the Waterford International Festival of Light Opera. Derby G&S Company have also performed in Philadelphia, Pennsylvania, Gettysburg, Pennsylvania and Seattle, Washington in the US, in Lanzarote,

title: Gilbert and Sullivan

text: 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 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

title: Gilbert and Sullivan

text: 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 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

title: Gilbert and Sullivan

text: and The Two Ronnies' 1973 Christmas Special. Other comedians have used Gilbert and Sullivan songs as a key part of their routines, including Hinge and Bracket, Anna Russell, and the "HMS Yakko" episode of the animated TV series "Animaniacs". Songs from Gilbert and Sullivan are often pastiched in advertising, and elaborate advertising parodies have been published, as have the likenesses of various Gilbert and Sullivan performers throughout the decades. Gilbert and Sullivan comic operas are commonly referenced in literature, film and television in various ways that include extensive use of Sullivan's music or where action occurs during a performance of

title: Gilbert and Sullivan

text: is not found in the librettos. Many other children's books have since been written retelling the stories of the operas or adapting characters or events from them. In the 19th century, the most popular Gilbert and Sullivan songs and music were adapted as dance pieces. Many musical theatre and film adaptations of the operas have been produced, including the following: 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

title: Gilbert and Sullivan

text: 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 a grand opera, the new libretto provided Sullivan with the opportunity to write his most ambitious score to date. The critics, who had recently lauded

title: Gilbert and Sullivan

text: [The words'] precise degree of levity and distance from reality ... seemed to be expressed ... in the very notes of the music; almost ... in the note of the laughter that followed it." In 1957, a review in "The Times" gave this rationale for "the continued vitality of the Savoy operas": Because of the unusual success of the operas, the D'Oyly Carte Opera Company were able, from the start, to license the works to other professional companies, such as the J. C. Williamson Gilbert and Sullivan Opera Company, and to amateur troupes. For almost a century, until the British

title: Gilbert and Sullivan

text: is more often heard than the original overture by Clarke. Toye's "Pirates" overture, however, did not last long and is now presumed lost. Sir Malcolm Sargent devised a new ending for the overture to "The Gondoliers", adding the "cachucha" from the second act of the opera. This gave the "Gondoliers" overture the familiar fast-slow-fast pattern of most of the rest of the Savoy Opera overtures, and this version has competed for popularity with Sullivan's original version. Gilbert and Sullivan operas have been translated into many languages, including Portuguese, Yiddish, Hebrew, Swedish, Dutch, Danish, Estonian, Hungarian, Russian, Japanese, French, Italian, Spanish

title: The Story of Gilbert and Sullivan

text: the performance, however, news arrives of Sullivan's death. Some years later, Gilbert is finally knighted. The following additional singing voices were heard on the soundtrack: Elsie Morison, Marjorie Thomas, Owen Brannigan, Harold Williams, Muriel Brunskill, John Cameron and Jennifer Vyvyan. The Story of Gilbert and Sullivan The Story of Gilbert and Sullivan is a 1953 British technicolor film that dramatises the story of the collaboration between W. S. Gilbert and Arthur Sullivan. Gilbert and Sullivan wrote 14 comic operas, later referred to as the Savoy Operas, which became the most popular series of musical entertainments of the Victorian era and

title: Gilbert and Sullivan

text: the other's, and partly caused by the opposing personalities of the two—Gilbert was often confrontational and notoriously thin-skinned (though prone to acts of extraordinary kindness), while Sullivan eschewed conflict. In addition, Gilbert imbued his libretti with "topsy-turvy" situations in which the social order was turned upside down. After a time, these subjects were often at odds with Sullivan's desire for realism and emotional content. Also, Gilbert's political satire often poked fun at the wealthy and powerful whom Sullivan sought out for friendship and patronage. Gilbert and Sullivan disagreed several times over the choice of a subject. After both "Princess Ida"

title: Gilbert and Sullivan

text: Carolyn Williams has noted, however: "The influence of Gilbert and Sullivan – their wit and sense of irony, the send ups of politics and contemporary culture – goes beyond musical theater to comedy in general. Allusions to their work have made their way into our own popular culture". Gilbert and Sullivan expert and enthusiast Ian Bradley agrees: The works of Gilbert and Sullivan are themselves frequently pastiched and parodied. Well known examples of this include Tom Lehrer's "The Elements" and "Clementine"; Allan Sherman's "I'm Called Little Butterball", "When I Was a Lad", "You Need an Analyst" and "The Bronx Bird-Watcher";

title: Gilbert and Sullivan

text: 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 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

text: Cultural influence of Gilbert and Sullivan For nearly 150 years, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world. Lines and quotations from the Gilbert and Sullivan operas have become part of the English language, such as "short, sharp shock", "What never? Well, hardly ever!", "let the punishment fit the crime", and "A policeman's lot is not a happy one". The Savoy operas heavily influenced the course of the development of modern musical theatre. They have also influenced political style and discourse, literature, film and television and advertising, and have been widely parodied by humorists. Because they

title: The Story of Gilbert and Sullivan

text: at Windsor Castle but astonishes Sullivan by choosing to hear "The Gondoliers". Apart from Gilbert, Sullivan comes to realise that his true gifts lie with light music. Richard and Helen Carte toast the arrival of the twentieth century, hoping for a revival of the Gilbert and Sullivan partnership. Stopping by at a rehearsal for a revival of "The Yeomen of the Guard", Gilbert runs into Sullivan, after having been apart for years. Sullivan is ill and using a wheelchair. The two men make up and propose taking a curtain call together with Carte, all three of them in wheelchairs. During

text: "Daily Mail" gave the company five stars. "The Northern Echo" reviewed the 2015 tour, stating: "This company is so polished, so well-versed in the eccentricities of Gilbert and Sullivan operettas, with excellent singing voices coupled with clear diction ... and comedic skill. ... [A] tuneful, jolly, laugh-out-loud evening’s entertainment. "The Manchester Evening News" gave the company four out of five stars, admiring its musical and comic polish, dancing and "magnificent" chorus. In 2017, a reviewer praised the principals and chorus of the company's "Mikado" production, commenting: "This is giggle-making, girth-busting comic opera at it's very best. Sensational singing with sumptuous

title: Sullivan and Gilbert

text: Jerome and Donna English. Subsequent productions followed. This is not the only show about the Gilbert and Sullivan partnership. A 1938 Broadway show, "Knights of Song", tells the story of the partnership, as do the musicals "The Savoyards", by Donald Madgwick (1971) and "Tarantara Tarantara", by Ian Taylor (1975), and the films "The Story of Gilbert and Sullivan" (1951) and "Topsy-Turvy" (1999). In December 1890, near the end of their collaboration, and still estranged by their famous carpet quarrel, W. S. Gilbert and Sir Arthur Sullivan have neither seen nor spoken with each other in months. Now they must supervise

text: Raymond J. Osnato and then several other conductors. The Company had occasionally recruited orchestras for performances in the 1960s and 1970s, but had never had an orchestra of its own. Beginning in 1992, however, the Company made it a priority to develop its own orchestra, beginning with a tiny ensemble of six and slowly growing with the passing years. Many of the orchestra members have returned again and again to the Light Opera Orchestra, which is now in its 12th year. 1992 also saw the launching of “The Savoy Project: or, Gilbert & Sullivan from A to Z.” Spurred by

title: Gilbert and Sullivan for All

text: and Box", which they performed with piano accompaniment. Other former members of D'Oyly Carte who appeared with Gilbert and Sullivan for All, include Gillian Knight, Ann Hood, John Cartier, Thomas Lawlor, Pauline Wales, and Geoffrey Shovelton. During their Gilbert and Sullivan for All years, Round and Adams also appeared on tour as Arthur Sullivan and W. S. Gilbert, respectively, in "Tarantara! Tarantara!", Ian Taylor's musical about the Gilbert and Sullivan partnership. Gilbert and Sullivan for All remained active throughout the early 1980s, until Adams's growing career as an operatic singer and Round's increasing age forced it to close. They occasionally

text: International Gilbert and Sullivan Festival The International Gilbert and Sullivan Festival was founded in 1994 by Ian Smith and his son Neil and is held every summer in England. The two- or three-week Festival of Gilbert and Sullivan performances and fringe events attracts thousands of visitors, including performers, supporters, and G&S enthusiasts from around the world. Beginning in 2014, Harrogate, North Yorkshire, has hosted the Festival, which was held in Buxton, Derbyshire, from 1994 to 2013. At the Festival, up to a dozen amateur Gilbert and Sullivan performing societies from around the world compete on the Festival's main stage each

text: two, such as the 2009 book, "The Fabulous Feud of Gilbert & Sullivan". P. G. Wodehouse makes dozens of references to Gilbert and Sullivan in his works. Wodehouse sometimes referred to Gilbert at length, and he based his Psmith character on Rupert D'Oyly Carte or his brother. Wodehouse also parodied G&S songs. In Jerome K Jerome's "Three Men in a Boat" (1889), a description is given of Harris's attempts to sing a comic song: "the Judge's song out of "Pinafore" – no, I don't mean "Pinafore" – I mean – you know what I mean – the other thing, you

title: Toronto Light Opera Association

text: Toronto Light Opera Association The Toronto Light Opera Association was an opera company based in Toronto, Ontario, Canada that specialized in performing the works of Gilbert and Sullivan. It was founded in 1940 and disbanded in 1955. Members of the association first came together in 1940 when Howard Mawson and some friends who had appeared in collegiate productions of Gilbert & Sullivan operettas asked Mawson's father Frederick, a Toronto choirmaster and conductor, to teach them more about the performance of Gilbert & Sullivan's music. Frederick Mawson, with the help of his son organized what was to become the Toronto Light

title: Gilbert and Sullivan

text: time by major opera companies, and recordings of the operas, overtures and songs from the operas continue to be released. Since 1994, the International Gilbert and Sullivan Festival has been held every August in England, with some two dozen or more performances of the operas given on the main stage, and several dozen related "fringe" events given in smaller venues. The Festival records and offers videos of its most popular professional and amateur productions. In connection with the 2009 festival, a contemporary critic wrote, "The appeal of G&S’s special blend of charm, silliness and gentle satire seems immune to fashion."

title: Gilbert and Sullivan for All

text: productions of the operas, throughout Britain and made several world tours to North America, Australasia, and the Far East. By 1963, Round had left the D'Oyly Carte Opera Company, and, together with Adams and Meadmore (a former director of D'Oyly Carte), formed the group. Gilbert and Sullivan for All, usually composed of five or six singers and a pianist, would perform on nights when D'Oyly Carte was playing "The Gondoliers", since Adams was not engaged by D'Oyly Carte to play in that opera. In the early years, the pianist was often the former D'Oyly Carte assistant musical director, William Cox-Ife.

title: Gilbert and Sullivan

text: de Corneville"). 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 the production with no return, staged a public fracas, sending a group of thugs to seize the scenery during a performance. Stagehands successfully managed to ward off their backstage attackers. This event cleared the way for Carte, Gilbert and Sullivan to form the D'Oyly Carte Opera Company, which then produced all of their succeeding operas. The libretto of "H.M.S. Pinafore" relied on stock character types,

title: Gilbert and Sullivan

text: 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 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. Producer Richard D'Oyly Carte brought Gilbert and Sullivan together and nurtured their collaboration. He built the Savoy Theatre

title: Gilbert and Sullivan

text: humour based on Gilbert and Sullivan's style and characters continues to be written. The overtures from the Gilbert and Sullivan operas remain popular, and there are many recordings of them. Most of them are structured as a "potpourri" of tunes from the operas. They are generally well-orchestrated, but not all of them were composed by Sullivan. However, even those delegated to his assistants were based on an outline he provided, and in many cases incorporated his suggestions or corrections. Sullivan invariably conducted them (as well as the entire operas) on opening night, and they were included in the published scores

title: Gilbert and Sullivan

text: Penzance", and so on. Similarly, Mrs. Partlet in "The Sorcerer" transformed into Little Buttercup in "Pinafore", then into Ruth, 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, the "respectability" of civilisation and the peerage, and

title: Gilbert and Sullivan

text: 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 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. Ko-Ko loves his ward, Yum-Yum, but she loves a musician, who is really the son of the

title: New York Gilbert and Sullivan Players

text: New York Gilbert and Sullivan Players New York Gilbert and Sullivan Players (often known as NYGASP) is a professional repertory theatre company, based in New York City that has specialized in the comic operas of Gilbert and Sullivan for over 40 years. It performs an annual season in New York City and tours extensively in North America. Beginning in New York City in 1974 by performing the Savoy operas with piano accompaniment, the company hired its first orchestra in 1979 for its seasons at Symphony Space theatre in New York. The company was fully professional by the 1980s and began

title: Gilbert and Sullivan

text: are beauties!" The piece premiered in New York rather than London, in an (unsuccessful) attempt to secure the American copyright, and 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

title: Gilbert and Sullivan

text: 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 with 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

title: Gilbert and Sullivan

text: 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 grand 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 a kingdom ruled by a pair of gondoliers who attempt to remodel the

text: scores each performance, and both group and individual awards are announced at the end of the Festival. At the first Festival in 1994, first prize was awarded to the production of "Utopia, Limited" presented by the Gilbert & Sullivan Society of Maine, in the US (then known as the G&S Society of Hancock County). The Derby Gilbert & Sullivan Company has won the first prize more often than any other company (six times); and the South Anglia Savoy Players has won five times and placed second four times. Festival Productions, Ireland, won in three consecutive years, 2007 to 2009. Individual

title: Gilbert and Sullivan

text: performing groups "support the culture of music and the drama. They are now accepted as useful training schools for the legitimate stage, and from the volunteer ranks have sprung many present-day favourites." Cellier and Bridgeman attributed the rise in quality and reputation of the amateur groups largely to "the popularity of, and infectious craze for performing, the Gilbert and Sullivan operas". The National Operatic and Dramatic Association (NODA) was founded in 1899. It reported, in 1914, that nearly 200 British troupes were performing Gilbert and Sullivan that year, constituting most of the amateur companies in the country (this figure included

text: in the 500-seat Harrogate Theatre and others at various venues in and around the town, including at the Festival's purpose-built Savoy theatre. The "fringe" activities have included performances, master classes and lectures by members of the original D'Oyly Carte Opera Company (such as Valerie Masterson, Thomas Round, Gillian Knight, Kenneth Sandford, John Ayldon and John Reed) and other professionals, and a late night Festival Club, where cabaret performances are given each evening after the opera, and sometimes a G&S singalong is conducted. Recent years have included scholarly symposia, and rarely revived works by Gilbert or separately by Sullivan are also

title: Gilbert and Sullivan

text: of the production. Among other items to which Gilbert objected, Carte had charged the cost of a new carpet for the Savoy Theatre lobby to the partnership. Gilbert believed that this was a maintenance expense that should be charged to Carte alone. Gilbert confronted Carte, who refused to reconsider 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 Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have

text: the Gilbert and Sullivan operas. Al Goodman and Groucho Marx also released Gilbert and Sullivan recordings. The operas are referred to in other popular media, including video games. For example, in "", a casino is called "Pirates in Men’s Pants", a crude play on "Pirates of Penzance". The 1970s popular music singer Gilbert O'Sullivan adopted his stage name as a pun on "Gilbert and Sullivan" when his manager suggested that it would be good marketing. In the 1950s, the British radio show "Take It From Here" featured parodies of Gilbert and Sullivan songs with lyrics about the buses in London.

title: New York Gilbert and Sullivan Players

text: group originally performed scenes from Gilbert and Sullivan operas with a sound system and a cast of nine people in outdoor performances and in nursing homes and hospitals around New York City, with borrowed costumes, set pieces and an electric piano from the New York Grand Opera, the Bloomingdale School of Music and other supporters. Their first indoor home was at the theatre in the B’nai Jeshurun Community Center. Bergeret designed and built the sets and acted as stage and musical director. In 1975, the company incorporated as a not-for-profit organization under the current name. At the beginning of 1976,

title: Sullivan and Gilbert

text: a rehearsal for a revue of songs from their comic operas, a command performance for Queen Victoria at the Savoy Theatre. The underprepared show is set to open in about eight hours. Sullivan has been ill and has missed most of the rehearsals; he’s in love with pretty Violet Russell, a young soprano of whom Gilbert disapproves. To make matters worse, Sullivan has invited Alfred, the Duke of Edinburgh (a son of the Queen), to join the cast. The eager duke can't sing, dance or remember his cues. When Gilbert finds out, he's furious. With a company of temperamental actors

title: Savoy opera

text: Gilbert and Sullivan works as operettas. "Patience" (1881) 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, included the complete set of 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 produced operas by other composer–librettist teams, either as curtain raisers to the G&S pieces, or to fill the theatre when no G&S piece was available. To their contemporaries, the

title: Arthur Sullivan

text: Sullivan. "The Martyr of Antioch" was first performed in October 1880. A grateful Sullivan presented his collaborator with an engraved silver cup inscribed "W.S. Gilbert from his friend Arthur Sullivan." Sullivan was not a showy conductor, and some thought him dull and old-fashioned on the podium, but his composition had an enthusiastic reception and was frequently revived. Besides his festival and other conducting appointments, Sullivan invariably conducted the opening nights of the Gilbert and Sullivan operas. Carte opened the next Gilbert and Sullivan piece, "Patience", in April 1881 at London's Opera Comique, where their past three operas had played. In