The Mikado | opera by Gilbert and Sullivan | Britannica.com opera by Gilbert and Sullivan Written By: Alternative Title: “The Mikado; or, The Town of Titipu” Related Topics musical composition The Mikado, in full The Mikado; or, The Town of Titipu, operetta in two acts by W.S. Gilbert (libretto) and Sir Arthur Sullivan (music) that premiered at the Savoy Theatre in London on March 14, 1885. The work was a triumph from the beginning. Its initial production ran for 672 performances, and within a year some 150 other companies were performing the operetta in England and the United States . One of its best-known numbers is Ko-Ko’s song “ I’ve Got a Little List, ” for which directors through a century and beyond have made a point of changing phrases to build in contemporary cultural references to those who “never would be missed.” The character of Nanki-Poo is pictured on a poster advertising Gilbert and Sullivan’s … Theatrical Poster Collection/Library of Congress, Washington, D.C. (Digital file no.

var 1766) Background and context When The Mikado was composed, Londoners had been enthusiastic about all things Japanese since the opening of Japan to the West in the mid-1850s. At the time of the operetta’s premiere, crowds were flocking to the Japanese Village exhibit in the Knightsbridge area of London; this reconstructed village featured men and women from Japan who demonstrated their crafts and their way of life. From his own visit to the exhibit, Gilbert drew inspiration for some of the finishing details of his libretto; he even hired a Japanese woman he met there to instruct the cast in proper Japanese mannerisms, fan use, and makeup . Further realistic touches for the opera were supplied by the famed Hawes Craven , a scene painter noted for his unprecedented realism. Sir Arthur Sullivan, detail of a portrait by John Millais, 1888; in the National Portrait Gallery, … Courtesy of the National Portrait Gallery, London As in much of the Gilbert and Sullivan canon, there is sharp commentary in The Mikado upon contemporary English society.

For example, Gilbert makes the character Pooh-Bah a government official in charge of everything (including complaints about himself), as a prominent man in a small English town might actually be. Similarly, the pivot of the plot—a law that condemns a man to death for the crime of flirting—can be seen as a comment on the outdated laws lingering in England at the time. Similar Topics The music too is cleverly wrought. In his entrance aria (“ A Wand’ring Minstrel I ”) Nanki-Poo, the romantic leading man, declares himself capable of offering a song in any mood, from folksy to martial to nautical, and Sullivan set each of the subsequent verses to music of suitable character. Later, in a trio for three other male characters (“ I Am So Proud ”), Sullivan gave each man his own melody . These are presented separately, then combined into an intricate counterpoint that recalls the mastery of Johann Sebastian Bach . The Mikado may be a light and comic tale, but Sullivan saw no reason why the music could not reflect a serious level of craft, which is part of what raised Gilbert and Sullivan operettas above the standard of their competition and why their work remains popular.

Scottish singer Durward Lely as Nanki-Poo in an 1887 performance of The … The Print Collector/Heritage-Images The Mikado, emperor of Japan ( bass ) Nanki-Poo, the Mikado’s son, disguised as a wandering minstrel ( tenor ) Ko-Ko, Lord High Executioner of Titipu ( baritone ) Pooh-Bah, Lord High Everything Else in Titipu (baritone) Pish-Tush, a noble lord (baritone) Yum-Yum, Ko-Ko’s ward and betrothed ( soprano ) Pitti-Sing, Ko-Ko’s sister ( mezzo-soprano ) Peep-Bo, another sister (soprano) Katisha, an older woman, betrothed to Nanki-Poo ( contralto ) Chorus of gentlemen, schoolgirls, citizens, guards, servants. Setting and story summary The Mikado is set in the 1880s, in the imaginary Japanese town of Titipu. Act I In the courtyard of Ko-Ko’s palace.

Ko-Ko and a chorus of Japanese nobles sing the praises of their culture , correcting Western stereotypes and declaring that they are gentlemen from Japan (Chorus: “ If You Want to Know Who We Are ”). Nanki-Poo, disguised as a ragged balladeer with a guitar , asks where he can find the maiden Yum-Yum, Ko-Ko’s ward. The nobles ask who he is. He says that he is a minstrel and demonstrates his sentimental, patriotic, and seafaring songs (“ A Wand’ring Minstrel I ”). EU Considers Rules For Robots Pish-Tush asks Nanki-Poo the nature of his business with Yum-Yum. The young man explains that he had fallen in love with her at first sight a year before, but she was then engaged to Ko-Ko. Nanki-Poo has since learned that Ko-Ko was condemned to death for flirting, so he has come to find her.

Pish-Tush advises the young man that the emperor (“ Our Great Mikado ”) has wisely punished flirters, so the townspeople appointed Ko-Ko Lord High Executioner, and, since criminals must be executed in the order of their conviction , he “cannot cut off another’s head until he’s cut his own off.” Then Pooh-Bah, the Lord High Everything Else, tells Nanki-Poo that Yum-Yum will marry Ko-Ko that very day (Trio: “ Young Man, Despair ”). Nanki-Poo barely has time to grieve when he is interrupted by the grand arrival of Ko-Ko himself (“ Behold the Lord High Executioner! ”). Ko-Ko tells the assembled crowd of his “little list of society offenders who might well be underground” and, if executed, “never would be missed” (“ I’ve Got a Little List ”). He then attempts to seek Pooh-Bah’s advice, in that nobleman’s multifarious official capacities, as to how much he should spend on his wedding—and how much Pooh-Bah should be “insulted” by a bribe .

Their discussion is interrupted by the arrival of a group of young women, along with Yum-Yum and her sisters, Peep-Bo and Pitti-Sing (Trio: “ Three Little Maids from School ”). Recognizing Nanki-Poo, they rush over to him, and Nanki-Poo blurts out to Ko-Ko that he is in love with Yum-Yum. Ko-Ko orders him removed and then introduces the girls to the lofty Pooh-Bah, who is offended by their giggling. The girls apologize (Quartet: “ So Please You, Sir, We Much Regret ”). When everyone but Yum-Yum has left, Nanki-Poo returns, declares his love, and reveals that he is really the Mikado’s son. He has had to disguise himself to avoid being married off to the elderly Katisha. Nanki-Poo tells Yum-Yum of his feelings (Duet: “ Were You Not to Ko-Ko Plighted ”). They kiss and depart in sorrow. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest Pooh-Bah and Pish-Tush deliver a letter from the Mikado to Ko-Ko.

The Mikado is disappointed with the lack of executions and threatens to abolish the office of Lord High Executioner and to lower the status of the town of Titipu to a mere village, unless somebody is beheaded within a month. Ko-Ko is technically next up for execution, as his colleagues point out, but he argues that beheading himself would, for one thing, be suicide (a capital offense) and, for another, constitute an act that he could not perform up to his own standards. Each of the three men declines the honour of the “short, sharp shock” of decapitation (Trio: “ I Am So Proud ”). Nanki-Poo enters, intending to hang himself. Ko-Ko suggests that Nanki-Poo agree to be executed instead, thus standing in for Ko-Ko. Nanki-Poo agrees after some argument but only on condition that he be allowed to marry Yum-Yum immediately, with the execution to be held a month later. The townspeople enter to hear Ko-Ko’s decision: Yum-Yum is to marry Nanki-Poo. General rejoicing ensues but is interrupted by the imperious Katisha.

She claims her “perjured lover, Nanki-Poo” and is about to reveal that he is the Mikado’s son when Yum-Yum incites the crowd to drown her out. Katisha vows revenge. Act II In Ko-Ko’s garden and palace. Yum-Yum and her bridesmaids prepare for her wedding (“ Braid the Raven Hair ”). Alone, Yum-Yum soliloquizes on her own loveliness (“ The Sun Whose Rays ”). Pitti-Sing and Peep-Bo return and tactlessly remind Yum-Yum that her marriage is to be cut short by her husband’s execution. Nanki-Poo and Pish-Tush enter and try to cheer her up. But the merry madrigal they all sing (Quartet: “ Brightly Dawns Our Wedding Day ”) ends in sorrow. Ko-Ko comes in to announce that he has discovered a law that decrees that when a married man is executed, his wife is to be buried alive.

Yum-Yum begins to have second thoughts about marrying Nanki-Poo, as burial alive is “such a stuffy death.” But if she backs out, she faces the equally unpleasant prospect of marrying Ko-Ko (Trio: “ Here’s a How-de-do! Editor Picks: Exploring 10 Types of Basketball Movies Nanki-Poo again threatens to commit suicide, but Ko-Ko cannot allow that—if he does not officially execute Nanki-Poo within a month, he will have to execute himself. So Nanki-Poo urges Ko-Ko to execute him immediately, but Ko-Ko is too squeamish to do it. Ko-Ko then hits on the idea of making a false affidavit stating that Nanki-Poo has already been executed. He agrees that Nanki-Poo and Yum-Yum can be married at once, as long as they leave for good. A procession enters announcing the arrival of the Mikado, who is accompanied by the fearsome Katisha, “his daughter-in-law elect.” The Mikado boasts: My object all sublime I shall achieve in time— To let the punishment fit the crime.

Ko-Ko assures the Mikado that the execution he ordered has just taken place, with corroboration from Pitti-Sing and Pooh-Bah (Quartet: “ The Criminal Cried ”). Although the Mikado is pleased to hear this, his real purpose in coming is to find his son, who is using the name Nanki-Poo. In a panic, Ko-Ko declares that he has gone abroad—to Knightsbridge. But Katisha cries out in anguish as she spots Nanki-Poo’s name on the death certificate. Ko-Ko and his confederates abjectly apologize. The Mikado excuses them—after all, his son was in disguise, and the town’s leaders were anxious to abide by his order for an execution—but he reminds them that killing the heir apparent has consequences nonetheless and requires a punishment that is “something humorous, but lingering, with either boiling oil or melted lead .” They bemoan their fate (Quintet: “ See How the Fates Their Gifts Allot ”). After the Mikado and Katisha depart, Nanki-Poo and Yum-Yum appear; they are on their way to their honeymoon.

Ko-Ko declares that Nanki-Poo is reprieved, but the young man refuses “to come back to life” unless Ko-Ko takes Katisha off his hands by marrying her. Then life will be good (Quintet: “ The Flowers That Bloom in the Spring ”). Dancing, everyone leaves. Katisha enters and soliloquizes on her lonely state (“ Alone, and Yet Alive ”). Ko-Ko arrives and begins to woo her passionately. When she resists, he tells the sad tale of a bird’s unrequited love (“ Tit-Willow ”). Katisha, greatly affected, yields to Ko-Ko’s plea and coyly asks if he will not hate her for being “a little teeny weeny wee bit bloodthirsty.” Ko-Ko reassures her, and they celebrate before dancing off together (Duet: “ There Is Beauty in the Bellow of the Blast ”). The Mikado and the townspeople return for the execution of Ko-Ko, Pitti-Sing, and Pooh-Bah. But Katisha pleads for mercy for Ko-Ko, whom she has just married, and for the others.

The Mikado hesitates because he believes they executed his son, but Nanki-Poo appears. Katisha erupts in fury. Ko-Ko then defuses the situation in an ingenious way. When the Mikado says, “‘Let a thing be done,’ it’s as good as done,” declares Ko-Ko, so why not simply state that the execution has been completed? The Mikado finds the curious logic satisfactory and then commutes Ko-Ko’s sentence from death to life with Katisha. With everyone reconciled and content, the people of Titipu rejoice and celebrate the marriage of Nanki-Poo and Yum-Yum. The Mikado (1939) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The son of the Mikado of Japan, a wandering minstrel, falls for a girl who is engaged to her guardian. Director: W.S.

Gilbert (libretto based upon the opera by), Geoffrey Toye (adaptation) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 21 titles created 23 Mar 2011 a list of 29 titles created 03 Jan 2013 a list of 29 titles created 12 Sep 2013 a list of 42 titles created 19 Apr 2014 a list of 35 titles created 10 May 2014 Search for " The Mikado " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Oscar. Another 1 nomination. See more awards » Photos After Gilbert and Sullivan's latest play is critically panned, the frustrated team threatens to disband until it is inspired to write the masterpiece "The Mikado". Director: Mike Leigh Two lonely people in the big city meet and enjoy the thrills of an amusement park, only to lose each other in the crowd after spending a great day together.

Will they ever see each other again? Director: Pál Fejös This sensuously beautiful film chronicles the activities of four sisters who gather in Kyoto every year to view the cherry blossoms. It paints a vivid portrait of the pre-war lifestyle of ... See full summary » Director: Kon Ichikawa This merry farce depicts a satirical view of the French society: Ten-year-old Zazie has to stay two days with her relatives in Paris, so that her mother can spend some time with her lover. ... See full summary » Director: Louis Malle After railroad agents forcibly evict the James family from their family farm, Jesse and Frank turn to banditry for revenge. Directors: Henry King, Irving Cummings Stars: Tyrone Power, Henry Fonda, Nancy Kelly The Mikado I (TV Movie 1987) Musical | Comedy A staging of "The Mikado" set in an English country hotel during the 1920s. Director: John Michael Phillips After his gang disbands, a yakuza enforcer looks forward to life outside of organized crime but soon must become a drifter after his old rivals attempt to assassinate him.

Director: Seijun Suzuki In 1920s and 1930s New Zealand, Janet Frame grows up in a poor family with lots of brothers and sisters. Already at an early age she is different from the other kids. She gets an education ... See full summary » Director: Jane Campion Four 1950s icons meet in the same hotel room and two of them discover more in common between them than they ever anticipated. Director: Nicolas Roeg The Mikado (TV Movie 1984) Comedy | Musical In a mythical Japan, Ko-Ko, a cheap tailor, has been appointed Lord High Executioner and must find someone to execute before the arrival of the ruling Mikado. He lights upon Nanki-Poo, a ... See full summary » Director: Norman Campbell In the bordertown of San Pablo, preparing for an annual 'Mexican Fiesta,' arrives Gagin: tough, mysterious and laconic. His mission: to find the equally mysterious Frank Hugo, evidently for... See full summary » Director: Robert Montgomery In Peru in the eighteenth century. Camilla, the star of a theater company, hesitates between three men. The Viceroy gives her his magnificent golden coach.

A young Spanish officer suggests ... See full summary » Director: Jean Renoir Edit Storyline In a mythical Japan, Ko-Ko, a cheap tailor, has been appointed Lord High Executioner and must find someone to execute before the arrival of the ruling Mikado. He lights upon Nanki-Poo, a strolling minstrel who loves the beautiful Yum-Yum. But Yum-Yum is also loved by Ko-Ko, and Nanki-Poo, seeing no hope for his love, considers suicide. Ko-Ko offers to solve both their problems by executing Nanki-Poo, and an agreement is reached whereby Ko-Ko will allow Nanki-Poo to marry Yum-Yum for one month, at the end of which Nanki-Poo will be executed, in time for the arrival of the Mikado. But what Ko-Ko doesn't know is that Nanki-Poo is the son of the Mikado and has run away to avoid a betrothal to an old harridan named Katisha. The arrival of the Mikado brings all the threads of the tale together.

Written by Jim Beaver <jumblejim@prodigy.net> 1 May 1939 (USA) See more » Also Known As: Mono (Western Electric Sound System) Color: Did You Know? Trivia Sir W.S. Gilbert and Sir Arthur Sullivan 's comic opera "The Mikado or, The Town of Titipu" was their ninth of fourteen collaborations. It opened on March 14, 1885 in London at the Savoy Theatre and ran for 672 performances. See more » Connections Brightly Dawns Our Wedding Day (1885) (uncredited) I am right and you are right and all is right as right can be 4 March 2005 | by Gary170459 (Derby, UK) – See all my reviews I've seen this 1939 Technicolor version of the Mikado now maybe 10 times over 3 decades and it hasn't palled on me yet, it's a wonderful production of a wonderful operetta.

I'm not a huge Gilbert & Sullivan expert, but I consider this to be their best work overall - I'd give the music and lyrics 9.9 out of 10 alone - and I do recognise this was edited to be squeezed into 90 minutes. This means a few great scenes and songs are not here, but as it's still great all the way through anyway I don't mind too much. Although he did a good job, was good looking and had a fine singing voice Kenny Baker is the only thing about this production that jars a little, his kind of material was best displayed in films like At The Circus. But I'm not a Kenny Baker expert either! Was it simply to help sell it in America, or did he want the role? At this distance we should be grateful for what we've got - I wish this entire team (cast and crew) had also made some of the other greats such as Pinafore and Penzance for us to admire and then quibble over the chosen edit! To anyone who wants to give G&S a try, try this, revel in Gilbert's gloriously witty and extensive use of the English language, be roused by some of Sullivan's most beautiful and catchy tunes.

If you still don't appreciate it then I don't think any of their other work will do it for you either. 16 of 16 people found this review helpful. Was this review helpful to you? Yes The Mikado THE MIKADO and Sir Arthur Sullivan (1842-1900) W.S. Gilbert’s “Bab” illustration of Ko-Ko in the “Tit-Willow” scene of The Mikado, c. 1885. Comic opera in two acts; text by W.S. Gilbert; music by Sir Arthur Sullivan. First produced at the Savoy Theatre, London, March 14, 1885. First performance in the United States, July 6, 1885, at the Museum, Chicago. Sir William Schwenk Gilbert Sir Arthur Sullivan Not without reason is this one of the most popular of the long line of “Savoy Operas,” for Gilbert’s text is a masterpiece of comic writing to which Sullivan’s ever tuneful music is perfectly adapted, serving in a remarkable manner to set off the amusing character of the words.

The Japanese setting supplies a refreshingly colorful background, although, of course the characters are by no means Japanese, but the Victorian British in a very thin disguise. Mike Leigh’s 1999 film Topsy-Turvy is an excellent dramatization of Gilbert and Sullivan’s often troubled working relationship, and of how The Mikado came to be (though the singing leaves much to be desired). Please also visit The Gilbert & Sullivan Archive and its Mikado page for a wealth of information on this opera, including sound files, photos, illustrations, plot summaries, libretti, notes, and reviews. The Archive itself is a rich resource for all the Gilbert & Sullivan operas and just about everything related to Sir W.S. Gilbert and Sir Arthur Sullivan. The Cast The Story After the captivating overture composed of some of the choicest melodies from the opera, the curtain rises on the courtyard of Ko-Ko’s palace at Titipu. Japanese nobles who are gathered there sing a lively chorus. Nanki-Poo enters excitedly, carrying a native guitar and a bundle of ballads. He asks to be directed to the maiden Yum-Yum, the ward of Ko-Ko. In turn the nobles ask his own identity.

He replies with the song, “A Wandering Minstrel I.” He offers them his wares, that is, his songs — sentimental, patriotic or nautical. Pish-Tush asks his business with Yum-Yum. Nanki-Poo replies that a year ago he saw Yum-Yum and immediately fell in love with her, but at that time she was betrothed to her guardian, Ko-Ko. Now, having heard that Ko-Ko is condemned to death for flirting, he has come to see Yum-Yum. Pish-Tush replies that Ko-Ko has been pardoned and made Lord High Executioner; this happened under the remarkable circumstances he relates in the song, “Our Great Mikado.” Thereupon, the Lord High Everything Else, Pooh-Bah, enters and, singing the song, “Young Man, Despair,” tells him to give up hope, for Yum-Yum is to marry Ko-Ko this very day.

Nanki-Poo’s lament is cut short by the arrival of Ko-Ko himself, entering in state with his attendants who sing the rousing chorus “Behold the Lord High Executioner!” Thanking them for their reception, he sings the amusing song, “I’ve got a little list of society offenders who might well be underground” — possibilities for his own professional employment! Soon there enters a procession of Yum-Yum’s school-mates singing their girlish chorus “Comes a train of little ladies from scholastic trammels free.” Immediately after appears Yum-Yum herself with her two sisters, Peep-Bo and Pitti-Sing, “Three little maids from school.” The girls happen to offend the haughty Pooh-Bah, so are obliged to beg his pardon, singing “So please you, sir, we much regret if we have failed in etiquette.” Then all depart, save Nanki-Poo and Yum-Yum. The young man at once declares his love and reveals to Yum-Yum that he is none other than the son of the Mikado. He has assumed this disguise in order to avoid marrying an elderly lady of the court, Katisha, who has claimed him.

The couple sing their duet, “Were you not to Ko-Ko plighted,” saying that if Yum-Yum were not engaged to Ko-Ko they would loudly kiss one another, and audibly demonstrate how it would be done. Then each goes away sorrowfully. Pooh-Bah and Pish-Tush enter with a letter for Ko-Ko from the Mikado who, struck by the fact that no one has been beheaded in Titipu for a year, threatens to abolish the office of Lord High Executioner unless somebody is executed within a month. In the trio they sing, “I am so proud,” each of the men declines the honor of decapitation, Ko-Ko because of his duty to Titipu, Pooh-Bah because he must mortify his family pride, and Pish-Tush really doesn’t greatly care. Curiously enough, at this moment Nanki-Poo enters, carrying a rope with which he intends to hang himself for sorrow at the loss of Yum-Yum. Ko-Ko suggests that Nanki-Poo allow himself to be executed instead.

After some argument Nanki-Poo consents, on condition that he be permitted to marry Yum-Yum at once — the execution to be a month later. Ko-Ko reluctantly agrees. The nobles and ladies enter to learn the decision, Ko-Ko announces that Yum-Yum is to marry Nanki-Poo, and all rejoice, singing merrily “The threatened cloud has passed away.” Suddenly the dreaded Katisha appears, declaring melodramatically, “Your revels cease.” She balefully claims Nanki-Poo her own, but Pitti-Sing laughing replies that they are not concerned with her connubial views. The tottering and wicked Katisha then turns to Nanki-Poo, declaring: “Oh, faithless one . . . I’ll tear the mask from your disguising!” But as soon as she begins her denunciation, “He is the son of your...” Nanki-Poo, Yum-Yum, and the chorus interrupt, singing Japanese words loudly and drowning out her voice.

Thus repeatedly foiled, Katisha furiously vows vengeance, while all the others sing merrily, “For joy reigns everywhere around!” Yum-Yum is attended by her maidens who, while preparing her for the wedding, sing the graceful chorus, “Braid the raven hair,” and Pitti-Sing interpolates a short solo, “Sit with downcast eye.... Try if you can cry.” Yum-Yum, gazing in the mirror, is thrilled by her own loveliness and expresses her appreciation of it. Reminded that her married happiness is to be “cut short,” Yum-Yum bursts into tears; Nanki-Poo enters and tries to console her. With a forced, melancholy laugh, Yum-Yum, Pitti-Sing, Nanki-Poo, and Pish-Tush attempt a cheerful quartet, “Brightly dawns our wedding day,” but each time their “Sing a merry madrigal-Fal-la!” ends in sorrow. Their unhappiness is further augmented when Ko-Ko enters with the exciting news that a law has just been discovered which decrees that when a married man is beheaded his wife is to be buried alive.

So far the law has never been put into force, for the only crime punishable with decapitation is flirting, and of course, married men never flirt. Yum-Yum complains that burial alive is such a stuffy death: yet if Nanki-Poo releases her she will have to marry Ko-Ko.

With reason do they break into the incomparable Trio, “Here’s a how-de-do!” A moment later the stately Japanese melody played at the opening of the overture is heard, and a procession enters, singing Japanese words, “Miya sama,” announcing the arrival of the Mikado, who enters, accompanied by Katisha, “His daughter-in-law elect.” The Mikado introduces himself with the song, “A more humane Mikado never did in Japan exist.” His object is to “let the punishment fit the crime.” Pooh-Bah now comes forward to assure the Mikado that his wishes have been respected, the execution has just taken place; Ko-Ko, Pitti-Sing, and Pooh-Ball describe it graphically in their song, “The criminal cried.” Although the Mikado is gratified at the news, this was not the purpose of his coming; he really is seeking his son, who is reputed to be in Titipu, disguised under the name of Nanki-Poo. At this moment Katisha, who is reading the death certificate, finds the name there — Nanki-Poo beheaded!

Ko-Ko, Pooh-Bah, and Pitti-Sing pretend to be dismayed to think that they have executed the Heir Apparent. The Mikado reminds them that they will have to be punished for this; he is not the least angry, but the laws decree that “compassing the death of the Heir Apparent,” they shall be punished by boiling in oil, or by some similar protracted torture. Such is the injustice of Fate, of which they sing in the Glee, “See how the Fates their gifts allot.” The Mikado and Katisha go away, and while the trio remain cursing their ill-luck, Nanki-Poo and Yum-Yum appear, ready to start on their honeymoon.

The unlucky trio attempt to persuade Nanki-Poo to “come back to life,” but the Prince, wishing to be free of Katisha, refuses unless Ko-Ko will himself marry her; then, he says, life will be as welcome as “The flowers that bloom in the spring.” But Ko-Ko’s response is, “Bother the flowers of spring!” All go out and Katisha enters, sadly bemoaning that she is “Alone, and yet alive!” To her now comes Ko-Ko, declaring a passionate love for her. When she sternly refuses him, he sings the pathetic story of a bird’s unhappy affection, “Willow, tit-willow.” Katisha is so moved by his song and his threatened death from a broken heart that she yields, and even asks if he does not mind that she is the least wee bit bloodthirsty. Ko-Ko finds beauty even in bloodthirstiness, and the two sing their duet, “There is beauty in the bellow of the blast,” then go away together joyfully. The Mikado now enters ready to behold the execution of the three culprits.

A moment later they rush in, but Katisha is with them, and implores mercy for she has married Ko-Ko. The Mikado hesitates since the law must be enforced. The situation is saved by the appearance of Nanki-Poo whose non-execution is marvelously explained, all then taking their turns in the exhilarating finale, “For he’s gone and married Yum-Yum!” Plot summary adapted by Linda Cantoni from The Victor Book of the Opera (RCA Manufacturing Co., Camden, NJ, 1936). Plot Summary of The Mikado by Gilbert and Sullivan A procession of school girls arrives [Comes a train of little ladies] , followed by Yum-Yum and her sisters, Pitti-Sing and Peep-Bo [Three little maids from school are we] . Yum-Yum greets her betrothed decidedly less enthusiastically than she does Nanki-Poo. Ko-Ko introduces Pooh-Bah, who greets the girls very reluctantly. They respond teasingly [So please you, Sir, we much regret] .

Taking advantage of a few minutes alone with Yum-Yum, Nanki-Poo declares his love and shares with her the secret of his identity. Because of the excessive laws against flirting, Yum-Yum urges him to stay away from her. Nanki-Poo devises a plan to flirt by considering what they could do if it weren't for the law [Were you not to Ko-Ko plighted] . Ko-Ko, meanwhile, has received a letter from the Mikado, who is concerned that there have been no recent executions in Titipu and threatens severe repercussions if one does not take place within a month, including reducing the town to the rank of a village. Although, as Pooh-Bah points out, Ko-Ko is next in line for that honor, Ko-Ko understandably would prefer to find a substitute. Ko-Ko, Pooh-Bah, and Pish-Tush debate who should be executed [I am so proud] .

He comes across Nanki-Poo, who is preparing to terminate his existence rather than face life without Yum-Yum, and the two men strike a bargain: Ko-Ko agrees to let Nanki-Poo marry Yum-Yum now, and, in return, Nanki-Poo agrees to let Ko-Ko behead him at the end of the month and marry his widow. The townsmen want to know how Ko-Ko will comply with the Mikado's decree [With aspect stern (Act I Finale)] . Ko-Ko introduces Nanki-Poo as his volunteer, and Nanki-Poo embraces Yum-Yum. All rejoice over this resolution, but the festivities are rudely interrupted by the appearance of Katisha. All cower except Pitti-Sing, who taunts Katisha. Katisha grieves her lost love. Furious at Nanki-Poo's rejection, she attempts to reveal his true identity. She is silenced by the crowd, but vows revenge. ACT II — Ko-Ko's Garden, Later the Same Day As the act begins, Yum-Yum's sisters and friends are helping her make ready for her wedding [Braid the raven hair] .

She concludes that she is more lovely than any other woman because she is a child of nature and takes after her mother [The sun, whose rays are all ablaze] . Yum-Yum and her sisters are very sad at the thought of the very brief marriage, and Nanki-Poo enters and tries to lift their spirits [Brightly dawns our wedding day] . The wedding plans are disrupted upon Ko- Ko's discovery that, under the Mikado's law, when a married man is beheaded, his wife must be buried alive. Yum-Yum's enthusiasm for the marriage is suddenly diminished [Here's a how-de-do!] . To spare Yum-Yum this grim fate, Nanki-Poo decides to kill himself at once. This, however, would leave Ko-Ko with nobody to behead—just as word arrives that the Mikado is at this very minute approaching Titipu. Nanki-Poo offers himself for immediate decapitation, but Ko-Ko is not equal to the task. Ko-Ko realizes, though, that he can accomplish the same purpose by swearing a false affidavit that he has done the deed, provided that Nanki-Poo leaves at once and never comes back.

Since Nanki-Poo will not leave otherwise, Ko-Ko sends Yum-Yum with him,and the happy couple goes off to be married just as the Mikado enters the town. As the Mikado enters, he describes how he, in a fatherly kind of way, governs each tribe and sect [From every kind of man Obedience I expect] . Then he describes how he wants to make the punishment meet the crime [A more humane Mikado never Did in Japan exist] . The Mikado is delighted to hear that an execution has taken place, and is eager to hear the details. Ko-Ko, assisted by Pitti-Sing and Pooh-Bah, recounts a highly creative description of the execution [The criminal cried, as he dropped him down] . The Mikado's visit, however, concerns another matter: at Katisha's prompting, he is seeking the whereabouts of his son. Unfortunately, this turns out to be Nanki-Poo, the man Ko-Ko has just testified he beheaded.

Ko-Ko and his accomplices are declared guilty of "compassing the death of the Heir Apparent" and scheduled to die after luncheon — "something humorous, but lingering, with either boiling oil or melted lead." The Mikado declares that he is sorry for them, but it is an unjust world, and virtue is triumphant only in theatrical performances [See how the fates their gifts allot] . Their only hope is to admit the falsehood of the affidavit and of their testimony, and produce Nanki-Poo alive and well. Nanki-Poo, however, having already married Yum-Yum, is no longer free to marry Katisha and thus cannot reveal himself without risking both his own life and his wife's. Ko-Ko is left with no other choice but to woo, win, and wed Katisha herself [The flowers that bloom in the spring] . Katisha is very upset over the loss of Nanki-Poo [Alone, and yet alive!] Katisha at first refuses Ko-Ko, but he then sings her a touching ballad [On a tree by a river a little tom-tit] , and she accepts him [There is beauty in the bellow of the blast] .

Nanki-Poo then returns to life and presents himself—and his new bride—to his father. Ko-Ko devises an explanation of his subterfuge that satisfies the Mikado, who commutes his death sentence to one of life with Katisha. All ends with laughing song and merry dance. [For he's gone and married Yum-Yum] . Gilbert & Sullivan Operettas | Shows | NYC | Tams-WitmarkTams Witmark Gilbert & Sullivan Operettas The original D’Oyly Carte versions of beloved operettas by William S. Gilbert and Arthur Sullivan include these titles: H.M.S. PINAFORE H.M.S. PINAFORE (quarter-deck of HMS Pinafore off Portsmouth) High spirits prevail aboard HMS Pinafore as Little Buttercup distributes sweets and tobacco to the crew. Ralph Rackstraw’s mind, however, is on Josephine. He is in love with her even though she is socially unattainable. Unaware of his affection for her, Josephine is in love with Ralph but pride prevents her from revealing this because of his low station. Josephine, meanwhile, is sought in marriage by Sir Joseph Porter whose advances she refuses to acknowledge.

Sir Joseph holds strong views about the treatment of sailors. He maintains that a British sailor is any man’s equal (excepting his own), and should always be treated with politeness without recourse to bad language or abuse. This inspires Ralph to declare his love to Josephine who soon forgets her price and confesses her true feelings to him. Plans are quickly made to smuggle the couple ashore that night to be married. The only crew member who is not happy at the news is Dick Deadeye. He betrays their intentions to the Captain and they are caught before they can leave the ship. Furious at Ralph’s actions, the Captain swears an oath at him which is, unfortunately, overheard by Sir Joseph. He is appalled at such an outburst and turns to Ralph for an explanation. Unfortunately, Ralph only makes matters worse by revealing that he is in love with Josephine. The situation is saved by Little Buttercup who intervenes to confess how, in her youth, she had fostered two babies from opposite ends of the social ladder. In the course of caring for them she had mixed them up. The baby from the poor background was Captain Corcoran and the other was Ralph.

Upon hearing this, Sir Joseph immediately loses all interest in Josephine and gladly resigns her to Ralph, now Captain Rackstraw. IOLANTHE (An Arcadian Landscape/Palace Yard, Westminster; between 1700 and 1882) Twenty-five years after her banishment from Fairyland for marrying a mortal, a crime usually punishable by death, Iolanthe has been pardoned. She had a son by this illicit marriage, Strephon, who is, therefore, half mortal and half fairy. He is in love with Phyllis whom he is determined to marry. However, in order to do so he needs the consent of her guardian, the Lord Chancellor, who shows little enthusiasm for the idea of his ward marrying a mere shepherd. When Strephon turns to his mother for comfort, Phyllis misinterprets their intimacy (as a fairy Iolanthe has not physically aged beyond a certain point) and, believing him to be unfaithful, she renounces her love for him.

Although he protests that Iolanthe is his mother, his claims are met with derision by Phyllis and the peers (who are unaware of his parentage) and even the intervention of the Queen of the Fairies cannot persuade them otherwise. Furious at their attitude, she declares that Strephon will enter Parliament and will work to overthrow all the privileges enjoyed by the nobility, a job at which Strephon is successful. However, he finds it no substitute for Phyllis and, with no further reason to conceal it, he reveals his fairy origins to her. This explains Iolanthe’s apparent youth and the couple become re-engaged. At Strephon’s request, Iolanthe puts their case to the Lord Chancellor, but has to disguise herself before doing so as, unbeknown to him, he is her mortal husband and she is forbidden to enlighten him under pain of death. Unfortunately, when he declares that he has decided to marry Phyllis himself, she is forced to reveal her true identity although this will mean forfeiting her life. However, when it emerges that the other fairies have committed the ultimate offence and married the peers (i.e.

mortals), the Lord Chancellor suggests that the law be amended so that it is a crime for any fairy not to marry a mortal. The Queen happily selects a mortal for herself and invites the whole company to join her in Fairyland. THE MIKADO (The Town of Titipu, Japan) The Mikado has decreed that the act of flirting when ‘not conubially linked’ is punishable by death. Horrified by this prospect, the townsfolk of Titipu appoint Ko-Ko as the Lord High Executioner – he has been imprisoned for flirting and would be obliged to execute himself before beheading anyone else. Arriving in Titipu, Nanki-Poo is distressed to hear of this new appointment. He has been forced to leave his father’s Court to avoid execution due to the unwarranted attentions of Katisha and has come to Titipu to claim Yum-Yum, Ko-Ko’s bride to-be, believing that she would now be freed of her engagement to Ko-Ko in the light of his imprisonment. Yum-Yum has no desire to marry Ko-Ko but knows that he will not release her to anybody else, especially not to an itinerant musician.

Heartbroken, Nanki-Poo prepares to commit suicide but is prevented from doing so by Ko-Ko, who has received orders from the Mikado to execute someone within the month, and suggests that Nanki-Poo be the required victim. Nanki-Poo agrees on the condition that in the meantime he can marry Yum-Yum, a plan which receives a temporary set-back at the discovery that the wife of a beheaded man must be buried alive. However, when they hear that the Mikado, accompanied by Katisha, is approaching the town, Ko-Ko, anxious to avoid the Mikado’s wrath, decides to pretend that Nanki-Poo’s execution has already taken place. Unfortunately, the Mikado is furious to learn that it is his son who has supposedly been beheaded and Ko-Ko has no choice but to persuade Nanki-Poo to “come back to life”, a plan Nanki-Poo will only agree to if Ko-Ko proposes to the unwed Katisha. Reluctantly he agrees and Katisha, believing Nanki-Poo to be dead, accepts the proposal. With Katisha out of the way, Nanki-Poo appears before the Mikado.

He is delighted to see his son alive, and all is forgiven. THE PIRATES OF PENZANCE (The coast of Cornwall) The pirates of Penzance (a rather tender-hearted band, made up exclusively of orphans and unable to harm anyone of similar background) are celebrating Frederic’s coming of age and subsequent release from his apprenticeship to them. He joined the pirates as a child owing to a mistake by Ruth, his nursemaid, who misheard his father’s instructions to apprentice him to a pilot. She has remained with Frederic ever since and now harbors a desire to marry him. However, Frederic has met and fallen in love with Mabel whose sisters the pirates have claimed as their future brides. Their father, the General, is horrified at this prospect and declares himself to be an orphan, knowing that this will effect their immediate release. As an ex-pirate, Frederic now feels that his duty is to society and he wastes no time in assembling a police force to capture the pirates.

He is, therefore, dismayed when he learns from Ruth and the Pirate King that, due to the fact that his birthday is on 29th February and only occurs once every four years, he has in effect only had five birthdays; the terms of his apprenticeship state that he is bound to the pirates until his 21 st birthday. Consequently, feeling that his loyalty is now to the pirates again, he reveals that the General is not really an orphan. The Pirate King is furious that he has been tricked and he plots to capture the General, his daughters and the policemen and take his revenge. This task proves no problem to his band of men until the Sergeant demands that they surrender in the name of Queen Victoria. This is too much for them and they yield to the request. However, as they are about to be taken into custody Ruth reveals that they are not really pirates at all, but noblemen who have gone astray. On hearing this, the General orders their release, restores them to their rightful ranks and offers them his daughters in marriage.

PRINCESS IDA Act I In a pavilion at King Hildebrand’s palace, courtiers wait expectantly for the arrival of King Gama and his daughter Princess Ida, who was betrothed in infancy to Hildebrand’s son, Prince Hilarion (Search throughout the panorama). Hildebrand promises to wage war against Gama if the Princess should fail to appear (Now hearken to my strict command), while Hilarion, who is in love with Ida, although he has not seen her since he was two years old, wonders how she may have changed over the ensuing twenty years (Ida was a twelvemonth-old). Ida’s war-like (and dull) brothers Arac, Guron and Scynthius, arrive at Hildebrand’s palace (We are warriors three) preceding their father. King Gama enters, explains his misanthropy (If you give me your attention I will tell you what I am), and promptly displays it by insulting Hildebrand and his son. He then announces that Princess Ida has forsworn men and founded a women’s university at Castle Adamant, one of his many country houses.

The two Kings advise Hilarion to go to Castle Adamant to claim Ida, and that if she refuses him, Hildebrand will storm the castle (Pr’haps if you address the lady). But Hilarion plans to use romantic means, rather than force, to gain the princess’s love. He explains that nature has “armed” him and his friends, the courtiers Cyril and Florian, to win this “war” (Expressive glances will be our lances). The three set off to Castle Adamant, while King Gama and his sons are to remain at Hildebrand’s palace as hostages (For a month to dwell in a dungeon cell). Act II At Castle Adamant, Princess Ida’s pupils learn that “man is nature’s sole mistake” (Towards the Empyrean heights). One of the Professors, Lady Blanche, doles out the punishments for the day, for “offenses” that include bringing chessmen to the university – “men with whom you give each other mate” – and for sketching a double-perambulator. Princess Ida arrives (Minerva!

Oh hear me) and delivers a stern lecture, stating that women’s brains are larger than men’s, and predicting that woman shall conquer man, but that once having conquered, woman will treat man better than he has treated her. Lady Blanche resents the Princess and predicts that one day she will replace her as head of the university (Come mighty must, a song often cut from the D’Oyly Carte productions). Hilarion, Cyril and Florian sneak into Castle Adamant (Gently, gently). They scoff at the idea of a woman’s college. Finding some discarded academic robes, the three men disguise themselves as young maidens wishing to join the university (I am a maiden cold and stately) and are welcomed by Princess Ida (The world is but a broken toy). Florian realizes that their disguises won’t fool his sister, Lady Psyche (one of the professors), and they take her into their confidence.

Lady Psyche warns them that they will face death if the Princess discovers who they are and informs them of the Princess’s theories on man, using a parable about an ape who falls in love with a high-born lady to illustrate her point that Darwinian “Man, sprung from an Ape, is Ape at heart” (A lady fair of lineage high). Illustration by Gilbert for the “Darwinian Man” song; compare with Darwin image above. Melissa, Lady Blanche’s daughter, has overheard them, but, fascinated by the first men she has ever seen, swears herself to secrecy. She falls in love with Florian at first sight, and the company celebrate joyously the discovery that men are not the monsters that Princess Ida had claimed (The woman of the wisest wit). Lady Blanche, who has not fallen for the men’s disguises, confronts Melissa. Though indignant at first, she is persuaded to keep the men’s secret when her daughter points out that if Hilarion is able to woo Princess Ida, Blanche will become head of the university (Now, wouldn’t you like to rule the roast?).

During lunch (Merrily rings the luncheon bell), Cyril gets tipsy and inadvertently gives away his friends’ identity by singing a bawdy song (Would you know the kind of maid). In the ensuing confusion, Princess Ida falls into a stream, and Hilarion rescues her (Oh joy, our chief is saved). Despite her rescue, Ida condemns Hilarion and his friends to death. Hilarion counters that without her love to live for, he welcomes death (Whom thou hast chained). King Hildebrand and his soldiers arrive, with Ida’s brothers in chains. He reminds her that she is bound by contract to marry Hilarion and gives her until the following afternoon to comply (Some years ago) or incur the guilt of fratricide. The defiant Ida replies that, although Hilarion saved her life and is fair, strong, and tall, she would rather die than be his bride (To yield at once to such a foe). Act III Princess Ida reviews her student troops’ readiness to meet Hildebrand’s soldiers in battle, but the terrified girls admit that they are afraid of fighting (Death to the invader!).

Princess Ida is disgusted by their lack of courage and vows that, if necessary, she will fight Hildebrand’s army alone (I built upon a rock). Her father, King Gama, arrives with a message that Hildebrand prefers not to go to war against women. He reveals that Hildebrand has been torturing him by treating him in luxury and giving him nothing to complain about (Whene’er I spoke sarcastic joke). He suggests that, instead of subjecting her women to all-out war, she pit her three strong, brave brothers against Hilarion and his friends, with Ida’s hand to depend on the outcome. Ida is insulted to be “a stake for fighting men” but realizes that she has no alternative. Rutland Barrington as Hildebrand, 1884 Hildebrand’s forces enter, together with Gama and his three sons (When anger spreads his wing). Hilarion, Cyril, and Florian are still in their women’s robes, and King Gama and his sons ridicule them. In preparation for battle, Gama’s sons shed their heavy armor, saying that it is too uncomfortable for combat (This helmet I suppose).

The fight ensues, with Hilarion, Cyril, and Florian defeating Gama’s sons (It is our duty plain). Her wager lost, Ida yields to Hilarion and bitterly asks Lady Blanche if she can resign her post with dignity. The delighted Blanche, who will succeed her as head of the university, assures her that she can. Ida laments the failure of her “cherished scheme,” but King Hildebrand points out the fatal flaw in her logic: If you enlist all women in your cause, And make them all abjure tyrannic Man, The obvious question then arises, “How Is this Posterity to be provided?” Princess Ida admits, “I never thought of that!” Hilarion makes an emotional appeal, urging her to give Man one chance, while Cyril observes that if she grows tired of the Prince, she can return to Castle Adamant. Lady Psyche says that she, too, will return if Cyril does not behave himself, but Melissa swears that she will not return under any circumstances. Finally, Ida admits that she has been wrong, and declares that indeed she loves Hilarion, ending with a quotation directly from the Tennyson poem.

All celebrate, (With joy abiding). Music by Arthur Sullivan Lyrics and Libretto by W.S. Gilbert 1 Leader Violin (1st Violin part with vocal cues) 1 Violin I 2 Flute I & II (Flute II doubles Piccolo) 1 Oboe 2 Clarinet I & II in A and Bb 1 Bassoon 2 Horn I & II (in F) 2 Trumpet I & II [or Cornet I & II] in A and Bb 2 Trombone I & II 1 Piano-Conductor’s Score (There is no piano scored in the orchestration. The Piano-Conductor’s Score is a vocal score with orchestra cues added. Two-Piano Arrangements are available for: The Mikado, H.M.S. Pinafore and The Pirates of Penzance. 1 Piano Conductor’s Score 1 Prompt Book Vocal scores for Gilbert & Sullivan operettas are available for sale at bookstores or online. The orchestrations match only the Boosey & Hawkes or Chappell editions. H.M.S. PINAFORE (1878) The Rt. Hon. Sir Joseph Porter, K.C.B.

(First Lord of the Admiralty) Capt. Corcoran (Commanding H.M.S. Pinafore) Ralph Rackstraw (Able Seaman) Soldiers, Courtiers, “Girl Graduates,” “Daughters of the Plough,” etc. Operettas require trained voices for principal roles and a full SATB chorus. Original D’Oyly Carte Orchestrations are available. Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the librettist 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 words, created fanciful “topsy-turvy” worlds for these operas where each absurdity is taken to its logical conclusion—fairies rub elbows with British lords, flirting is a capital offense, gondoliers ascend to the monarchy, and pirates turn out to be noblemen who have gone wrong. Sullivan, six years Gilbert’s junior, composed the music, contributing memorable melodies that could convey both humor 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 in 1881 to present their joint works (which came to be known as the Savoy Operas) and founded the D’Oyly Carte Opera Company, which performed and promoted Gilbert and Sullivan’s works for over a century. Find upcoming performances near you.

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Question: In "The Mikado" by Gilbert and Sullivan, what is the name of the Mikado's son who is disguised as a wandering minstrel?
Answer: Nanki-poo