Comic opera , sometimes known as light opera , is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue.
151-530: The D'Oyly Carte Opera Company is a professional British light opera company that, from the 1870s until 1982, staged Gilbert and Sullivan 's Savoy operas nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere. The company was revived for short seasons and tours from 1988 to 2003, and since 2013 it has co-produced four of the operas with Scottish Opera . In 1875, Richard D'Oyly Carte asked
302-513: A "dramatic work on a larger musical scale". Gilbert declined, but offered a compromise that Sullivan ultimately accepted: The two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera ( Ivanhoe ) for a new theatre that Carte was constructing to present British grand opera. The new comic opera was The Gondoliers , which opened in December 1889 and became one of
453-556: A 1998 production of Pirates at the Queen's Theatre , the orchestra was even smaller: The Guardian wrote, "The goings-on in the pit are dispiriting. Budgetary constraints have forced the company to re-write the score for a band of nine instrumentalists. They play well enough, but every one of Sullivan's parodies loses its clout." The company received a modest Arts Council grant in 1997 to keep it afloat and turned to private funding from Raymond Gubbay for London seasons beginning in 1998. Despite
604-414: A Canadian tour in 1927. Rupert D'Oyly Carte found the company's productions increasingly "dowdy", however, and on his return from the war, he determined to refresh them, bringing in new designers including W. Bridges-Adams for the sets, and, for the costumes, George Sheringham and Hugo Rumbold . He also commissioned new costumes from Percy Anderson who had worked with Gilbert and Richard D'Oyly Carte on
755-580: A Monastery (1940–1941, staged 1946), and Dmitri Shostakovich 's The Nose (1927–1928, staged 1930). Simultaneously, the genres of light music , operetta , musical comedy , and later, rock opera , were developed by such composers as Isaak Dunayevsky , Dmitri Kabalevsky , Dmitri Shostakovich (Opus 105: Moscow, Cheryomushki , operetta in 3 acts, (1958)), Tikhon Khrennikov , and later by Gennady Gladkov , Alexey Rybnikov and Alexander Zhurbin . The 21st century in Russian comic opera began with
906-664: A body of tasteful English comic opera that would appeal to families, in contrast to the bawdy burlesques and adaptations of French operettas and opera bouffes that dominated the London musical stage at that time. In early 1875 Carte was managing London's Royalty Theatre . Needing a short piece to round out an evening's entertainment featuring the popular Offenbach operetta La Périchole he brought W. S. Gilbert and Arthur Sullivan together. On tour in 1871, Carte had conducted Sullivan's one-act comic opera Cox and Box , which received an 1874 London revival. In 1873 Gilbert had offered
1057-462: A break with traditional presentations, with the setting a giant toy-box and a collapsible toy boat. In 1990 the company presented campier versions of Pinafore and Trial (including a heavily pregnant Angelina) that were much criticised by the old company's fans, who complained that it was a betrayal of the legacy left by Bridget D'Oyly Carte. The next season departed further from earnest presentations in its production of The Gondoliers , which included
1208-501: A cast of children, while waiting for the new work to be completed. This became the partnership's most successful opera, The Mikado , which opened in March 1885. The piece satirised British institutions by setting them in a fictional Japan. At the same time, it took advantage of the Victorian craze for the exotic Far East using the "picturesque" scenery and costumes of Japan. The Mikado became
1359-636: A cheat and a matchmaker , text by Alexander Ablesimov (1779), on a subject resembling Rousseau 's Devin , is attributed to Mikhail Sokolovsky . Ivan Kerzelli , Vasily Pashkevich and Yevstigney Fomin also wrote a series of successful comic operas in the 18th century. In the 19th century, Russian comic opera was further developed by Alexey Verstovsky who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later, Modest Mussorgsky worked on two comic operas, The Fair at Sorochyntsi and Zhenitba ("The Marriage"), which he left unfinished (they were completed only in
1510-421: A company to promote English comic opera. Gunn later joined Carte's management team. Still, Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of three English adaptations of French opera bouffe and two one-act English curtain raisers ( Happy Hampstead and Trial by Jury ). Carte himself was the musical director of this travelling company, which disbanded after
1661-558: A countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert , and the promising young composer, Arthur Sullivan , to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole . The result was Trial by Jury ; its success launched the Gilbert and Sullivan partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq . Eager to liberate
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#17328695293331812-438: A deeply corrugated stage floor, "startling", "surreal, primary coloured, starkly angled sets", gimmicky distracting business and generally staging that was considered "way over the top". It "was unveiled to storms of outraged booing". Most of the critics shared the public's disapproval of the production. The Times wrote, "The satiric point disappears in meretricious ado and humourless humour". Some critics, however, thought that it
1963-505: A dozen hits, were Babes in Toyland (1903) and Naughty Marietta (1910). Others who wrote in a similar vein included Reginald de Koven , John Philip Sousa , Sigmund Romberg and Rudolf Friml . The modern American musical incorporated elements of the British and American light operas, with works like Show Boat and West Side Story , that explored more serious subjects and featured
2114-564: A hitherto unknown comic world of sheer delight." The Sorcerer ran for 178 performances, a healthy run at the time, making a profit, and Carte sent out a touring company in March 1878. Sheet music from the show sold well, and street musicians played the melodies. The success of The Sorcerer showed Carte, Gilbert and Sullivan that there was a future in family-friendly English comic opera. The next Gilbert and Sullivan collaboration, H.M.S. Pinafore , opened in May 1878. The opera's initial slow business
2265-591: A lawsuit, but Sullivan sided with Carte, who was building the Royal English Opera House , the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the suit, but the partnership disbanded. Sullivan's opera, Ivanhoe , had a successful run, but Carte did not find suitable successors for the theatre, and it soon failed. He sold it, and it later became the Palace Theatre. After The Gondoliers closed in 1891, Gilbert withdrew
2416-478: A libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music. Carte remembered Gilbert's libretto and suggested to Gilbert that Sullivan write the music for a one-act comic opera, Trial by Jury , which was quickly composed and added to the Royalty's bill in March 1875. The witty and "very English" little piece proved even more popular than La Périchole and became
2567-505: A mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was Charles Lecocq . The singspiel developed in 18th-century Vienna and spread throughout Austria and Germany. As in
2718-610: A new partnership with Gilbert and Sullivan that became the D'Oyly Carte Opera Company. The company produced the succeeding ten Gilbert and Sullivan operas and many other operas and companion pieces, mostly at the Savoy Theatre in London, which Carte built in 1881 for that purpose. The company also mounted tours in Britain, New York and elsewhere, usually running several companies simultaneously. Carte's able assistant, Helen Lenoir , became his wife in 1888 and, after his death in 1901, she ran
2869-459: A new standard for technology, comfort and decor. It was the first public building in the world to be lit entirely by electric lights and seated nearly 1,300 people (compared to the Opera Comique's 862). Patience was the first production at the new theatre, transferring there on 10 October 1881. The first generator proved too small to power the whole building, and though the entire front-of-house
3020-450: A novice Scottish actress, Helen Lenoir , for a small role in a touring production. She soon left the tour and obtained a position in Carte's entertainment agency. Lenoir was well-educated, and her grasp of detail and diplomacy, as well as her organisational ability and business acumen, surpassed even Carte's. Frank Desprez , the editor of The Era , wrote: "Her character exactly compensated for
3171-542: A number of other Sullivan pieces. It made a cinema film of The Mikado in 1966, and recorded for television broadcast its productions of Patience (1965) and H.M.S. Pinafore (1973). It also supplied the soundtrack for a cartoon film of Ruddigore (1967). During the 1960s, the company gave five North American tours. A new stage director, Michael Heyland , was hired in 1969, staying until 1978. Among his new productions were The Sorcerer in 1971, Utopia, Limited in 1975 and Iolanthe in 1977. In March and April 1975, after
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#17328695293333322-562: A place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers. Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in
3473-484: A production of Youth running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of Patience , Pirates , Claude Duval and Billee Taylor in association with J. C. Williamson in Australia, among other things. In the 1880s Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing their popularity and
3624-500: A quarter century as the principal comedian, and the company made a highly successful eight-month North American tour with its new principal comedian, Martyn Green . In 1938 many company members participated in the Technicolor film of The Mikado produced and conducted by Geoffrey Toye. On 3 September 1939, at the outbreak of World War II, the British government ordered the immediate and indefinite closure of all theatres. Carte cancelled
3775-645: A short speech. A highlight of the season was a new staging of Utopia Limited (later given again at the Royal Festival Hall ), its first revival by the company. The Grand Duke was given as a concert performance, with narration by the BBC presenter Richard Baker . Royston Nash , who was at the company's musical helm from 1971 to 1979, conducted most of the performances, with Isidore Godfrey ( Pinafore ) and Sir Charles Mackerras ( Pirates and Mikado ) as guest conductors. Princes Philip and Andrew saw The Gondoliers . In
3926-535: A souvenir programme commemorating the 250th performance of Patience in London and its 100th performance in New York shows that, aside from these two productions of Patience , Carte was simultaneously producing two companies touring with Patience , two companies touring with other Gilbert and Sullivan operas, a company touring with Olivette (co-produced with Charles Wyndham ) a company touring Claude Duval in America,
4077-464: A stage manager under Gilbert's direction, and he fiercely preserved the company's performing traditions in exacting detail for 28 years. Except for Ruddigore , which underwent some cuts and received a new overture, very few changes were made to the text and music of the operas as Gilbert and Sullivan had produced them, and the company stayed true to Gilbert's period settings. Even after Gordon's death, many of Gilbert's directorial concepts survived, both in
4228-645: A time, and by 1904 there was only a single touring company wending its way through the British provinces, when it took a seven-month South African tour. In 1906–07 Mrs. Carte staged a repertory season at the Savoy Theatre, with Gilbert returning to direct. The season, which included Yeomen , The Gondoliers , Patience and Iolanthe , was a sensation and led to another in 1908–09 including The Mikado , Pinafore , Iolanthe , Pirates , The Gondoliers and Yeomen . Afterwards, however, Mrs. Carte's health prevented her from staging more London seasons. She retired and leased
4379-613: A tradesmanlike London sorcerer. It opened in November 1877 together with Dora's Dream , a curtain-raiser with music by Sullivan's assistant Alfred Cellier and words by Arthur Cecil , a friend of both Gilbert and Sullivan. Instead of writing a piece for production by a theatre proprietor, as was usual in Victorian theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to select their own cast of performers, rather than being obliged to use
4530-510: A very happy family." Knowing that Gilbert and Sullivan shared his vision of broadening the audience for British light opera by increasing its quality and respectability, Carte gave Gilbert wider authority as a director than was customary among Victorian producers, and Gilbert tightly controlled all aspects of production, including staging, design and movement. Gilbert hired the Gaiety Theatre's ballet-master John D'Auban to choreograph most of
4681-541: A year. After another attempt by Gilbert to persuade Sullivan to set a "lozenge plot", Gilbert met his collaborator half way by writing a serio-comic plot for The Yeomen of the Guard , which premiered in October 1888. The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write
D'Oyly Carte Opera Company - Misplaced Pages Continue
4832-410: A zany "last night" on the last evening of each London season. With the approaching end of the D'Oyly Carte monopoly on Gilbert and Sullivan performances, when the copyright on Gilbert's words expired in 1961 (Sullivan's music had already come out of copyright at the end of 1950), Bridget D'Oyly Carte contributed the company and all its assets to an independent charitable trust. She endowed the trust with
4983-485: A £1 million legacy to enable the company to be revived. The company secured sponsorship from Sir Michael Bishop , who later became chairman of the board of trustees, the Birmingham City Council and BMI British Midland Airways (of which Bishop was chairman). Richard Condon was appointed the revived company's first general manager, and Bramwell Tovey was its first musical director. In succeeding seasons,
5134-542: Is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan , and the work premiered on June 20, 2001, at the Mariinski Theatre , St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002". The Children of Rosenthal ( Дети Розенталя ), an opera in two acts by Leonid Desyatnikov , with a libretto by Vladimir Sorokin . This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of
5285-446: Is my desire to establish in London a permanent abode for light opera." The Observer reported, "Mr D'Oyly Carte is not only a skilful manager, but a trained musician, and he appears to have grasped the fact that the public are beginning to become weary of what is known as a genuine opera bouffe , and are ready to welcome a musical entertainment of a higher order, such as a musician might produce with satisfaction". He wanted to establish
5436-524: The Adelphi Theatre . A three-LP recording of this performance was released, which included songs from all of the Gilbert and Sullivan operas. The company had operated nearly continuously for 107 years since the opening of Trial by Jury in 1875. Even after it closed, the company's productions continued to influence the productions of other companies. Dame Bridget D’Oyly Carte died in 1985, leaving in her will
5587-672: The English Arts Council , it suspended productions in 2003. With Scottish Opera, it co-produced The Pirates of Penzance in 2013, The Mikado in 2016 and The Gondoliers and Utopia, Limited in 2021–22. Some of the company's performers, over the decades, became stars of their day and often moved on to careers in musical theatre or grand opera . The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept
5738-460: The J. C. Williamson company to produce the works in Australia and New Zealand. In an effort to head off unauthorised American productions of their next opera, The Pirates of Penzance , Carte and his partners opened it in New York on 31 December 1879, prior to its 1880 London premiere. Pirates was the only Gilbert and Sullivan opera to have its official premiere in America. Carte and his partners hoped to forestall further "piracy" by establishing
5889-562: The Lyceum Theatre , designed all the D'Oyly Carte sets until 1893. The partnership's next opera was Ruddigore , which opened in January 1887. It satirised and used elements of Victorian stock melodrama . The piece, though profitable, was a relative disappointment after the extraordinary success of The Mikado . When Ruddigore closed after a run of only nine months, the company mounted revivals of earlier Gilbert and Sullivan operas for almost
6040-557: The singspiel and the French model. Franz von Suppé is remembered mainly for his overtures. Johann Strauss II , the "waltz king", contributed Die Fledermaus (1874) and The Gypsy Baron (1885). Carl Millöcker a long-time conductor at the Theater an der Wien , also composed some of the most popular Viennese operettas of the late 19th century, including Der Bettelstudent (1882), Gasparone (1884) and Der arme Jonathan (1890). After
6191-416: The "first true Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy
D'Oyly Carte Opera Company - Misplaced Pages Continue
6342-443: The 150th anniversary of Sullivan's birth. The innovation was welcomed, receiving an Arts Council Grant, and the company later presented Die Fledermaus (1994), La Vie parisienne (1995) and The Count of Luxembourg (1997). Of the Savoy operas, the new company never staged The Sorcerer , Patience , Princess Ida , Ruddigore , Utopia and The Grand Duke , stating that they lacked box-office potential. Unlike its predecessor,
6493-493: The 1730s, a new operatic genre, opera buffa , emerged as an alternative to opera seria . It quickly made its way to France, where it became opéra comique , and eventually, in the following century, French operetta , with Jacques Offenbach as its most accomplished practitioner. The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating
6644-565: The 1860s and 1870s, including Les Cloches de Corneville , Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece . F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box , to write several comic operas on English themes in the 1860s and 1870s. In 1875, Richard D'Oyly Carte , one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as
6795-423: The 1880s, Carte and Helen Lenoir frequently had to smooth over the partners' differences with a mixture of friendship and business acumen. Sullivan asked to be released from the partnership on several occasions. Nevertheless, they coaxed eight comic operas out of Gilbert and Sullivan in the 1880s. When Princess Ida closed after a comparatively short run of nine months, for the first time in the partnership's history,
6946-426: The 20th century). Pyotr Tchaikovsky wrote a comic opera, Cherevichki (1885). Nikolai Rimsky-Korsakov composed May Night 1878–1879 and The Golden Cockerel 1906–1907. In the 20th century, the best examples of comic opera by Russian composers were Igor Stravinsky 's Mavra (1922) and The Rake's Progress (1951), Sergey Prokofiev 's The Love for Three Oranges (1919) and Betrothal in
7097-530: The British copyright, there was a perfunctory performance the afternoon before the New York premiere, at the Royal Bijou Theatre, Paignton , Devon , organised by Helen Lenoir. The next Gilbert and Sullivan opera, Patience , opened at the Opera Comique in April 1881 and was another big success, becoming the second longest-running piece in the series and enjoying numerous foreign productions. Patience satirised
7248-487: The Cartes eventually sought to reunite Gilbert and Sullivan. The reconciliation finally came through the efforts of Tom Chappell , who published the sheet music to the Savoy operas. In 1893 the company produced the penultimate Gilbert and Sullivan collaboration, Utopia, Limited . While Utopia was being prepared, the company produced Jane Annie , by J. M. Barrie and Arthur Conan Doyle , with music by Ernest Ford . Despite
7399-529: The Comedy Opera Company expired in July 1879, a business partnership among the three of them would be to their advantage. The three each put up £1,000 and formed a new partnership under the name "Mr Richard D'Oyly Carte's Opera Company". Under the partnership agreement, once the expenses of mounting the productions had been deducted, each of the three men was entitled to one third of the profits. On 31 July 1879,
7550-559: The English stage from risqué French influences, and emboldened by the success of Trial by Jury , Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera, The Sorcerer , starting the series that came to be known as the Savoy operas (named for the Savoy Theatre , which Carte later built for these works) that included H.M.S. Pinafore , The Pirates of Penzance and The Mikado , which became popular around
7701-411: The French opéra comique , the singspiel was an opera with spoken dialogue, and usually a comic subject, such as Mozart's Die Entführung aus dem Serail (1782) and The Magic Flute (1791). Later singspiels , such as Beethoven's Fidelio (1805) and Weber's Der Freischütz (1821), retained the form, but explored more serious subjects. 19th century Viennese operetta was built on both
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#17328695293337852-457: The Gaiety Theatre), introduced several innovations at the theatre, including numbered seating, free programme booklets, the "queue" system for the pit and gallery (an American idea) and a policy of no tipping for cloakroom or other services. Daily expenses at the theatre were about half the possible takings from ticket sales. The last eight of Gilbert and Sullivan's comic operas were premièred at
8003-496: The Italian and French models along with their own musical traditions. Examples include German singspiel , Viennese operetta , Spanish zarzuela , Russian comic opera, English ballad and Savoy opera , North American operetta and musical comedy . In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier opera seria (17th-century Italian opera based on classical mythology ). Il Trespolo tutore (1679) by Alessandro Stradella
8154-413: The Savoy operas in the public eye for over a century and left an enduring legacy of production styles and stage business that continue to be emulated in new productions, as well as recordings. By 1874, Richard D'Oyly Carte , a musician and ambitious young impresario , had begun producing operettas in London. He announced his ambitions on the front of the programme for one of his productions that year: "It
8305-412: The Savoy operas", noting: "The opera remains enchanting; the singing seems, on the whole, better and more musical than that which one used to hear, say, 30 years since; and though the acting lacks some of the richly crusted performances of those days, it is perhaps none the worse for that". In 1949 the company began a new series of recordings with Decca, featuring Green, who had returned to the company after
8456-467: The Savoy operas. The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as the critic Herman Klein wrote: "we secretly marvelled at the naturalness and ease with which [the Gilbertian quips and absurdities] were said and done. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings .... [They] conjured into existence
8607-400: The Savoy. During the years when the Gilbert and Sullivan operas were being written, the company also produced operas by other composer–librettist teams , either as curtain-raisers to the Gilbert and Sullivan pieces, or as touring productions, as well as other works to fill the Savoy Theatre in between Savoy operas, and Carte also toured the Gilbert and Sullivan operas extensively. For example,
8758-610: The Teatro de la Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the Teatro Apolo , was opened for zarzuela grande , which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to género chico . The first opera presented in Russia , in 1731, was a comic opera (or "commedia per musica"), Calandro , by an Italian composer, Giovanni Alberto Ristori . It
8909-453: The accounts: Even though the amount of the charge was not great, Gilbert felt it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert wrote in a letter 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 used to an offending menial." Gilbert brought
9060-414: The actors already engaged at the theatre. They chose talented actors, most of whom were not well-known stars and did not command high fees, and to whom they could teach a more naturalistic style of performance than was commonly used at the time. Carte's talent agency provided many of the artists to perform in the new work. They then tailored their work to the particular abilities of these performers. Some of
9211-442: The agreement to call upon his partners for a new opera to be written. Almost from the beginning of the partnership, the musical establishment put pressure on Sullivan to abandon comic opera, and he soon regretted having signed the five-year contract. In March 1884 Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself." During this conflict and others during
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#17328695293339362-452: The amateur societies "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
9513-504: The authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. They did succeed in keeping for themselves the direct profits of the venture, but they tried without success for many years to control the American performance copyrights over their operas. Pirates was an immediate hit in New York, and later London, becoming one of the most popular Gilbert and Sullivan operas. To secure
9664-510: The autumn tour and disbanded the company. Theatres were permitted to reopen from 9 September, but it took some weeks to reestablish the company. Some performers, including Martyn Green, were already committed elsewhere, and Grahame Clifford was engaged to play his roles. The company resumed touring, in Edinburgh, on Christmas Day 1939. The company continued to perform throughout the war, both on tour and in London, but in 1940 German bombing destroyed
9815-415: The cast members, including principal comedian George Grossmith , Richard Temple and Rutland Barrington , stayed with the company for almost 15 years. Two other longstanding members of the company were Rosina Brandram , who started in D'Oyly Carte touring companies with The Sorcerer , and Jessie Bond who joined the group for Pinafore at the Opera Comique in 1878. As Grossmith wrote in 1888, "We are all
9966-450: The company by calling for a Royal Command Performance of The Gondoliers at Windsor Castle in 1891. Bernard Shaw , writing in The World in October 1893, commented, "Those who are old enough to compare the Savoy performances with those of the dark ages, taking into account the pictorial treatment of the fabrics and colours on the stage, the cultivation and intelligence of the choristers,
10117-411: The company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular. After Rupert's death in 1948, his daughter Bridget inherited the company and hired Frederic Lloyd as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and Sullivan. In 1961
10268-423: The company gave a Royal Command Performance of Pinafore at Windsor Castle. Throughout the 20th century, until 1982, the company toured, on average, for 35 weeks per year (in addition to its 13-week London seasons), fostering a "strong family atmosphere, reinforced by the number of marriages in the company and the fact that so many people stayed with it for so long." The principal soprano Valerie Masterson married
10419-425: The company in 1930–31, 1933, 1941, 1951, 1954, 1961, 1963–64, and 1975. London seasons at other theatres, mostly Sadler's Wells , included summer seasons from 1935 to 1939, 1942, 1947 to 1950, 1953, 1971, 1975, 1977 and 1980; and winter seasons in 1956–57, 1958–59, 1960–61, 1963–64, 1965–66, 1967–68, and then every winter between 1969–70 and 1981–82. The company continued to tour the British provinces and abroad when it
10570-495: The company made the first complete recording of a Gilbert and Sullivan opera, The Mikado , for the Gramophone Company (later known as His Master's Voice ). Rupert D'Oyly Carte supervised the company's recordings, including eight more acoustic recordings by 1924, and a series of electrical recordings (without dialogue) in the late 1920s and early 1930s. There were additional recordings, in high fidelity, for Decca Records , in
10721-472: The company produced Iolanthe , which opened in 1882. During its run, in February 1883, Carte signed a five-year partnership agreement with Gilbert and Sullivan, obligating them to create new operas for the company upon six months' notice. Sullivan had not intended immediately to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882 and must have felt
10872-524: The company suspended productions in May 2003. Light opera Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 115182205 Upstream caches: cp1102 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 08:38:49 GMT Comic opera Forms of comic opera first developed in late 17th-century Italy. By
11023-610: The company to "the unique family atmosphere engendered by the company's direct descent from its creators, Gilbert, Sullivan ... Richard D'Oyly Carte, followed by his widow, Helen, his son Rupert, and finally his granddaughter Bridget." The company also preserved, for over a century, what The Times called a "unique performance style, which may be summarised as a combination of good taste and good fun". The company visited Denmark in 1970, Rome in 1974, and gave its last American tours in 1976 and 1978. Its last tour, in Australasia , conducted by
11174-510: The company toured the London suburbs, while Carte leased the Savoy Theatre to the Carl Rosa Opera Company . The theatre was dark during the summer of 1895, reopening in November for a revival of The Mikado . This was followed by The Grand Duke , in 1896, which ran for 123 performances and was Gilbert and Sullivan's only financial failure. The Gondoliers turned out to be Gilbert and Sullivan's last big hit, and after The Grand Duke ,
11325-414: The company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company. Carte's son Rupert inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain and abroad. With the help of the director J. M. Gordon and the conductor Isidore Godfrey , Carte ran
11476-462: The company's new musical director, Fraser Goulding, was a success in 1979. After the 1979 tour, the rising costs of mounting year-round professional light opera without any government support, despite some generous private contributions, caused the company to accrue increasing losses. In 1980 the English Arts Council 's Music Panel and Touring Committee recommended that the Arts Council make a grant to
11627-415: The company's principal flautist, Andrew March. She explained, "people didn't have flats or houses ... touring was your life." Throughout its history, the company maintained strict moral standards, and it was sometimes referred to as the "Savoy boarding school", enforcing policies regarding behaviour on and off stage, and even a dress code. Soprano Cynthia Morey ascribed the strong affection that artists had for
11778-470: The company's productions of The Mikado and H.M.S. Pinafore were nominated for Olivier Awards . From 1988 to 2003, the company mounted productions of the Gilbert and Sullivan operas on tour and in London, and it produced several operettas by Offenbach, Lehár and Strauss . Unlike the original company, which had regularly performed up to a dozen operas each year, 48 weeks a year, the new company generally presented only one or two operas in shorter seasons. In
11929-441: The company's revival of Iolanthe and the production of several new comic operas, including The Emerald Isle (1901), Merrie England (1902) and A Princess of Kensington (with music by German, libretto by Hood), which ran for four months in early 1903 and then toured. When A Princess of Kensington closed at the Savoy, Mrs. Carte leased the theatre to other managements until 8 December 1906. The company's fortunes declined for
12080-444: The company's scenery, costumes, band parts and other assets, together with a cash endowment, and supervised the production of operas on behalf of the trust until economic necessity forced the closure of the company in 1982. As it turned out, competing professional productions of Gilbert and Sullivan did not harm the company. Beginning in 1959, the company re-recorded most of the operas with Pratt's successor, John Reed , and also recorded
12231-490: The company, but this idea was rejected. The company's fans made an effort to raise private funds, but these were insufficient to make up the accelerating losses. In 1981 the producer George Walker proposed to film the company performing all of the Gilbert and Sullivan operas but backed out. Bridget D'Oyly Carte was forced to close the company in 1982, after a final London season in which Reed and Masterson returned as guest artists. It gave its last performance on 27 February 1982, at
12382-601: The company. During World War I, he was away serving in the Royal Navy . According to H. M. Walbrook, "Through the years of the Great War [the company] continued to be on tour through the country, drawing large and grateful audiences everywhere. They helped to sustain the spirits of the people during that stern period, and by so doing they helped to win the victory." The company also toured in North America several times, beginning with
12533-422: The deficiencies in his." She became intensely involved in all of his business affairs and soon managed many of the company's responsibilities, especially concerning touring. She travelled to America numerous times over the years to arrange the details of the company's New York engagements and American tours. The first comic opera produced by the Comedy Opera Company was Gilbert and Sullivan's The Sorcerer , about
12684-450: The dramatist W. S. Gilbert and the composer Arthur Sullivan to collaborate on a short comic opera to round out an evening's entertainment. When that work, Trial by Jury , became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work, The Sorcerer (1877), followed by H.M.S. Pinafore (1878). After Pinafore became an international sensation, Carte jettisoned his difficult investors and formed
12835-419: The final performance of Trial by Jury , the regular D'Oyly Carte chorus was augmented by fourteen former stars of the company: Sylvia Cecil , Elsie Griffin , Ivan Menzies , John Dean , Radley Flynn , Elizabeth Nickell-Lean , Ella Halman , Leonard Osborn , Cynthia Morey, Jeffrey Skitch , Alan Barrett, Mary Sansom , Philip Potter and Gillian Humphreys. In 1977, during Queen Elizabeth II 's Jubilee Year,
12986-555: The first great success of Carte's scheme to found his school of English comic opera, playing for 300 performances from 1875 to 1877, as well as touring and enjoying many revivals. At the Theatre Royal, in Dublin , Ireland in September 1875, while managing the first tour of Trial by Jury , Carte met an owner of the theatre, Michael Gunn , who was fascinated by Carte's vision for establishing
13137-401: The first of the four performances of Trial , a specially written curtain raiser by William Douglas-Home , called Dramatic Licence , was played by Peter Pratt as Richard D'Oyly Carte, Sandford as Gilbert and John Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial by Jury in 1875; afterwards, the prime minister, Harold Wilson , and Bridget D'Oyly Carte each gave
13288-552: The first season, in 1988, the operas played were Iolanthe and The Yeomen of the Guard , both starring Gillian Knight . The company made its debut at the Sunderland Empire Theatre on 29 April 1988, and, after touring, opened in London at the Cambridge Theatre in July. The press notices were good, particularly about the musical aspects of the new company; opinion was divided about the staging. The Observer thought
13439-478: The first wartime season, Peter Goffin , a protégé of Carte's daughter, Bridget, had designed a new production of The Yeomen of the Guard first seen in January 1940, and his new Ruddigore debuted in 1948. A return to the U.S. in 1947 was very successful, and the company resumed frequent visits to America. Rupert died in 1948, leaving a strong company to his daughter Bridget. She soon hired Frederic Lloyd as general manager. Bridget and Lloyd also took steps to keep
13590-703: The genre was like in the 17th century. In the 18th century, the Italian operatic style influenced zarzuela . But beginning with the reign of Bourbon King Charles III , anti-Italian sentiment increased. Zarzuela returned to its roots in popular Spanish tradition in works such as the sainetes (or Entr'actes) of Don Ramón de la Cruz. This author's first work in this genre was Las segadoras de Vallecas ("The Reapers of Vallecas", 1768), with music by Rodríguez de Hita . Single act zarzuelas were classified as género chico (the "little genre" or "little form") and zarzuelas of three or more acts were género grande (the "big genre" or "big form"). Zarzuela grande battled on at
13741-403: The last copyright on the Gilbert and Sullivan operas expired, and Bridget set up and endowed a charitable trust that presented the operas until mounting costs and a lack of public funding forced the closure of the company in 1982. It re-formed in 1988 with a legacy left by Bridget D'Oyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from
13892-457: The last day of their agreement with Gilbert and Sullivan, the directors of the Comedy Opera Company attempted to repossess the set by force during a performance, causing a celebrated fracas. Carte's stagehands managed to ward off their backstage attackers and protect the scenery. The Comedy Opera Company opened a rival production of H.M.S. Pinafore in London, but it was not as popular as the D'Oyly Carte production, and soon closed. Legal action over
14043-419: The late 1940s and early 1950s and stereo recordings in the late 1950s and early 1960s, all supervised after Rupert's death by his daughter, Bridget D'Oyly Carte . Rupert D'Oyly Carte also redesigned the Savoy Theatre. On 3 June 1929 the Savoy closed, and it was completely rebuilt to designs by Frank A. Tugwell with décor by Basil Ionides . The old house had three tiers; the new one had two. The seating capacity
14194-486: The latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal to the general public. There are two main forms of zarzuela : Baroque zarzuela ( c. 1630 –1750), the earliest style, and Romantic zarzuela ( c. 1850 –1950), which can be further divided into the two subgenres of género grande and género chico . Pedro Calderón de la Barca
14345-408: The lean forces, the company received generally favourable reviews over the next five years under the management of Ian Martin. Some of its recordings have been well received. Many of these recordings also restore music that had been cut by Gilbert and Sullivan or the company over the decades. Gubbay felt over-committed by 2003 and pulled out. After fifteen years, with no Arts Council funding forthcoming,
14496-412: The long-term contract necessary for his security. But he soon felt trapped. The Gilbert scholar Andrew Crowther comments, regarding the agreement: "Effectively, it made [Gilbert and Sullivan] Carte's employees – a situation which created its own resentments." The partnership's next opera, Princess Ida , opened in January 1884. Carte soon saw that Ida was running weakly at the box office and invoked
14647-500: The mid-19th century, despite Giuseppe Verdi 's Falstaff staged in 1893. French composers eagerly seized upon the Italian model and made it their own, calling it opéra comique . Early proponents included the Italian Egidio Duni , François-André Philidor , Pierre-Alexandre Monsigny , André Grétry , François-Adrien Boïeldieu , Daniel François Auber and Adolphe Adam . Although originally reserved for less serious works,
14798-575: The most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his La serva padrona swept Italy and France, evoking the praise of such French Enlightenment figures as Rousseau . In 1760, Niccolò Piccinni wrote the music to La Cecchina to a text by the great Venetian playwright, Carlo Goldoni . That text was based on Samuel Richardson 's popular English novel, Pamela, or Virtue Rewarded (1740). Many years later, Verdi called La Cecchina
14949-441: The new company was not a permanent ensemble with a recognisable style. Some performers appeared in several productions, but each production was cast anew, often with guest stars from British television in leading roles, with varying degrees of success. The chorus and orchestra of the new company were much smaller than those of the old company: the chorus was reduced from 32 (or more) to 20, and the orchestra from 38 generally to 24. For
15100-472: The next opera was not ready. To make matters worse, Gilbert suggested a plot in which people fell in love against their wills after taking a magic lozenge – a scenario that Sullivan had previously rejected, and he now rejected the "lozenge plot" again. Gilbert eventually came up with a new idea and began work in May 1884. The company produced the first revival of The Sorcerer , together with Trial by Jury , and matinees of The Pirates of Penzance played by
15251-456: The noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan ( Царь Демьян ) – A frightful opera performance . A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg , Iraida Yusupova and Vladimir Nikolayev from Moscow , and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto
15402-458: The old days." The main company made a triumphant return to London for the 1919–20 season at the Prince's Theatre , playing most of the Gilbert and Sullivan operas in repertory and showing off the new sets and costumes. The success of this season led to additional London seasons in 1921–22, 1924, and 1926; the company toured the rest of the year. Carte's first London season stimulated renewed interest in
15553-431: The opera was accompanied by juicy scandal; however it was an enormous success. England traces its light opera tradition to the ballad opera , typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley , was expressly described as "a comic opera". By
15704-491: The operas of Scarlatti, Pergolesi ( La serva padrona , 1733), Galuppi ( Il filosofo di campagna , 1754), Piccinni ( La Cecchina , 1760), Paisiello ( Nina , 1789), Cimarosa ( Il matrimonio segreto , 1792), and then the great comic operas of Mozart and, later, Rossini and Donizetti . At first, comic operas were generally presented as intermezzi between acts of more serious works. Neapolitan and then Italian comic opera grew into an independent form and became
15855-429: The operas, and by 1920 he had established a second, smaller company to tour smaller towns. It was disbanded in 1927, although the company often ran multiple tours simultaneously. For London seasons, Carte engaged guest conductors, first Geoffrey Toye , then Malcolm Sargent , who examined Sullivan's manuscript scores and purged the orchestral parts of accretions. So striking was the orchestral sound produced by Sargent that
16006-519: The original productions of the later Savoy operas. Charles Ricketts redesigned sets and costumes for The Mikado (1926) and The Gondoliers (1929). His costumes for The Mikado were retained by all subsequent designers until 1982. In an interview in The Observer in August 1919, Carte set out his policy for staging the operas: "They will be played precisely in their original form, without any alteration to
16157-479: The overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the first half of the 19th century by Gioachino Rossini in his works such as The Barber of Seville (1816) and La Cenerentola (1817) and by Gaetano Donizetti in L'elisir d'amore (1832) and Don Pasquale (1843), but declined in
16308-430: The ownership of the rights ended in victory for Carte, Gilbert and Sullivan. From 1 August 1879, the company, later called the D'Oyly Carte Opera Company, became the sole authorised producer of the works of Gilbert and Sullivan. Pinafore became so successful that the piano score sold 10,000 copies, and Carte soon sent two additional companies out to tour in the provinces. The opera ran for 571 performances in London,
16459-500: The partnership's greatest successes. After Carte's first wife died in 1885, Carte married Helen Lenoir in 1888, who was, by this time, nearly as important in managing the company as Carte himself. During these years, the company's high production values, and the quality of the operas, created a national and international taste for them, and the company mounted touring productions throughout the provinces, in America (generally managed by Helen), Europe and elsewhere. Queen Victoria honoured
16610-406: The partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, the second longest run for any work of musical theatre up to that time, and it was extraordinarily popular in the U.S. and worldwide. It remains the most frequently performed Savoy opera. Beginning with The Mikado , Hawes Craven , the designer of the sets for Henry Irving 's spectacular Shakespeare productions at
16761-461: The performance rights to his libretti and vowed to write no more operas for the Savoy. The D'Oyly Carte company turned to new writing teams for the Savoy, first producing The Nautch Girl , by George Dance , Desprez and Edward Solomon , which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and Sydney Grundy 's The Vicar of Bray , which played through the summer of 1892. Grundy and Sullivan's Haddon Hall then held
16912-494: The popularity of Barrie and Conan Doyle, the show was a flop, closing in July 1893 after only 51 performances. Utopia was the Savoy's most expensive production to date, but it ran for a comparatively disappointing 245 performances, until June 1894, turning a very modest profit. The company then played first Mirette , composed by André Messager , then The Chieftain , by F. C. Burnand and Sullivan. These ran for 102 and 97 performances, respectively. After The Chieftain closed,
17063-460: The press thought he had retouched the scores, and Carte had the pleasant duty of correcting their error. In a letter to The Times , he noted that "the details of the orchestration sounded so fresh that some of the critics thought them actually new... the opera was played last night exactly as written by Sullivan." Carte also hired Harry Norris , who started with the touring company, then was Toye's assistant before becoming musical director. In 1917
17214-410: The production of Sullivan and Hood's The Emerald Isle (1901), for which Edward German completed the score. Carte left his theatre, opera company and hotels to his wife, who assumed full control of the family businesses. Her London and touring companies continued to present the Savoy operas in Britain and overseas. She leased the Savoy Theatre to William Greet in 1901 and oversaw his management of
17365-586: The productions "miles superior to the later work of the old D'Oyly Carte; better designed, better lit ... better played and better sung." A review in The Guardian praised the musical standards, but added, "Gilbert and Sullivan is as much theatrical as musical entertainment and there remains a lot to be done on the visual side." The two operas presented in 1989 were The Mikado and The Pirates of Penzance. The new company's first three productions were broadly traditional in their staging. The Pirates , however, marked
17516-519: The productions fresh, engaging designers to redesign the costumes and scenery. Peter Goffin, who had redesigned Yeomen (1939) and Ruddigore (1948) for the company, created new settings and costumes for Bridget for half a dozen more productions: The Mikado (1952; settings only, most of the celebrated Ricketts costumes being retained), Patience (1957), The Gondoliers (1958), Trial by Jury (1959), H.M.S. Pinafore (1961; ladies' costumes) and Iolanthe (1961). A new production of Princess Ida in 1954
17667-532: The provincial touring companies. The Savoy's shows during this period received comparatively short runs, including His Majesty (1897), The Grand Duchess of Gerolstein (1897), The Beauty Stone (1898) and The Lucky Star (1899), as well as revivals of the Gilbert and Sullivan operas. Sullivan's The Beauty Stone ran for only 50 performances. In 1899 the Savoy finally had a new success, with Sullivan and Basil Hood 's The Rose of Persia , which ran for 213 performances. Neither Carte nor Sullivan lived to see
17818-486: The quality of the orchestra, and the degree of artistic good breeding, so to speak, expected from the principals, best know how great an advance has been made by Mr. D'Oyly Carte." On 22 April 1890, during the run of The Gondoliers , Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert confronted Carte, and Carte refused to reconsider
17969-464: The regular London season at Sadler's Wells, the company moved to the Savoy Theatre for a fortnight's centennial performances, beginning on 25 March, the 100th anniversary of the first performance of Trial by Jury . All thirteen surviving Gilbert and Sullivan operas were performed in chronological order. Trial by Jury was given four times, as a curtain raiser to The Sorcerer , Pinafore and Pirates and as an afterpiece following The Grand Duke . Before
18120-415: The risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote, The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become
18271-404: The sales of scores and libretti, as well as the rental of band parts. This had an important influence on amateur theatre in general. 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 licensed to perform the operas, professionals recognised that
18422-405: The scenes and showed her the arrangements for the actors and actresses, conventual in their austerity. ... I think there never was a theatre run on lines of such strict propriety; no breath of scandal ever touched it in all the twenty years of my experience. Gilbert would suffer no loose word or gesture either behind the stage or on it, and watched over us young women like a dragon. With profits from
18573-430: The second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque , as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed , beginning in 1855, and a number of other Britons, deplored
18724-572: The second longest run in musical theatre history up to that time. More than 150 unauthorised productions sprang up in America alone, but because American law then offered no copyright protection to foreigners, Gilbert, Sullivan and Carte had no way to prevent them. To try to make some money from the popularity of their opera in America, Carte travelled to New York with Gilbert, Sullivan and the company to present an "authentic" production of Pinafore on Broadway, beginning in December 1879, also mounting American tours. Beginning with Pinafore , Carte licensed
18875-558: The self-indulgent Aesthetic movement of the 1870s and '80s in England, part of the 19th-century European movement that emphasised aesthetic values over moral or social themes in literature, fine art , the decorative arts , and interior design. From the beginning, the D'Oyly Carte Opera Company established strict rules for its actors and actresses, to avoid any hint of scandal such as performers were accused of in other companies. As Jessie Bond described in her autobiography: No lingering about
19026-403: The sets and costumes for five of its shows: Cox and Box , The Sorcerer , H.M.S. Pinafore , Princess Ida and Ruddigore . The old productions of Pinafore and Cox and Box were recreated shortly after the war, and Ruddigore received a new production, planned by Carte but not seen until after his death. The other two operas took longer to rejoin the company's repertory. On the other hand, for
19177-817: The sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings. In the United States, Victor Herbert was one of the first to pick up the family-friendly style of light opera that Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with Prince Ananias in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half
19328-406: The stage directions printed in the libretti and as preserved in company prompt books. Original choreography was also maintained. Some of the company's staging became accepted as traditional by Gilbert and Sullivan fans, and many of these traditional stagings are still imitated today in productions by both amateur and professional companies. Helen Carte died in 1913, and Carte's son Rupert inherited
19479-402: The stage until April 1893. While the company presented new pieces and revivals at the Savoy, Carte's touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America. Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte, but the partnership had been so profitable that
19630-590: The success of the Gilbert and Sullivan operas and his concert and lecture agency (his talent roster included Adelina Patti , Clara Schumann , Offenbach, Oscar Wilde and Charles Gounod ), Carte bought property along the Strand with frontage onto the Thames Embankment, where he built the Savoy Theatre in 1881. He chose the name in honour of the Savoy Palace . The Savoy Theatre was a state-of-the-art facility, setting
19781-439: The term opéra comique came to refer to any opera that included spoken dialogue, including works such as Cherubini's Médée and Bizet's Carmen that are not "comic" in any sense of the word. Florimond Hervé is credited as the inventor of French opéra bouffe , or opérette . Working on the same model, Jacques Offenbach quickly surpassed him, writing over ninety operettas . Whereas earlier French comic operas had
19932-407: The theatre to C. H. Workman , and the company did not perform in London again until 1919, although it continued to tour throughout Britain. After Gilbert's death in 1911, the company continued to produce productions of the operas in repertory until 1982. In 1911, Helen Carte hired J. M. Gordon as stage manager. Gordon, who was promoted to stage director in 1922, had been a member of the company and
20083-456: The tour. Carte found four financial backers and formed the Comedy Opera Company in 1876 to produce more works by Gilbert and Sullivan , along with the works of other British lyricist/composer teams. With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera. Carte leased the Opera Comique, a small theatre off The Strand . In February 1877 Carte engaged
20234-510: The turn of the 20th century, Franz Lehár wrote The Merry Widow (1905); Oscar Straus supplied Ein Walzertraum ("A Waltz Dream", 1907) and The Chocolate Soldier (1908); and Emmerich Kálmán composed Die Csárdásfürstin (1915). Zarzuela , introduced in Spain in the 17th century, is rooted in popular Spanish traditional musical theatre. It alternates between spoken and sung scenes,
20385-402: The two men never collaborated again. In 1894 Carte had hired his son Rupert as an assistant. Rupert assisted Mrs. Carte and Gilbert with the first revival of The Yeomen of the Guard at the Savoy in May 1897. Throughout the later 1890s, Carte's health was declining, and Mrs. Carte assumed more and more of the responsibilities of running the opera company. She profitably managed the theatre and
20536-402: The war, and continued the series with his successor, Peter Pratt . The company cooperated with the production of the 1953 film The Story of Gilbert and Sullivan , which used some former members of the company in the cast. In 1955 the company gave a seven-month tour to the U.S. to celebrate the 75th anniversary of its first American productions. In 1959 the company began the tradition of holding
20687-413: The words, or any attempt to bring them up to date." This uncompromising declaration was modified in a later interview in which he said, "the plays are all being restaged. ... Gilbert's words will be unaltered, though there will be some freshness in the method of rendering them. Artists must have scope for their individuality, and new singers cannot be tied down to imitate slavishly those who made successes in
20838-524: The world. The D'Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982. The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in Dorothy ), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically
20989-434: Was allowed, no gossiping with the other actors; the women’s dressing-rooms were on one side of the stage, the men's on the other, and when we were not actually playing we had to mount at once our respective narrow staircases – sheep rigorously separated from the goats! Once, when my mother came to see me in London, expecting to find me dwelling in haunts of gilded luxury, and far down the road to perdition, I took her behind
21140-508: Was an early precursor of opera buffa . The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the opera buffa genre. The form began to flourish in Naples with Alessandro Scarlatti 's Il trionfo dell'onore (1718). At first written in Neapolitan dialect, these works became "Italianized" with
21291-493: Was designed by James Wade. Eleanor Evans , however, was an example of the company's stage directors from 1949 to 1953 who were said to be reluctant to update and freshen stagings. In 1957 Goffin designed a unit set for the company to facilitate touring, reducing the number of vans required to carry the scenery from twenty to nine. A 1957 review of Yeomen in The Times praised the production and marvelled at "the continued vitality of
21442-466: Was electrically lit, the stage was lit by gas until 28 December 1881. At that performance, Carte stepped on stage and broke a glowing lightbulb before the audience to demonstrate the safety of the new technology. The Times concluded that the theatre "is admirably adapted for its purpose, its acoustic qualities are excellent, and all reasonable demands of comfort and taste are complied with." Carte and his manager, George Edwardes (later famous as manager of
21593-406: Was followed by the comic operas of other Italians, like Galuppi , Paisiello and Cimarosa , and also Belgian / French composer Grétry . The first Russian comic opera was Anyuta (1772). The text was written by Mikhail Popov , with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera, The miller who was a wizard,
21744-406: Was founded in 1899. It reported, in 1914, that nearly 200 British societies were producing Gilbert and Sullivan operas that year. Carte insisted that amateur companies follow the D'Oyly Carte Opera Company staging, using its prompt books. Even after the copyrights expired at the end of 1961, the company continued to, and still does, rent out band parts to companies around the world. After Patience ,
21895-450: Was generally ascribed to a heat wave that made the stuffy Opera Comique particularly uncomfortable. Carte's partners in the Comedy Opera Company lost confidence in the show and posted closing notices. After Carte made promotional efforts and Sullivan included some of the Pinafore music in several promenade concerts that he conducted at Covent Garden , Pinafore became a hit. The Opera Comique
22046-431: Was increased from 986 to 1,158. The theatre reopened 135 days later on 21 October 1929, with The Gondoliers, designed by Ricketts and conducted by Sargent. Sheringham designed new productions that season for H.M.S. Pinafore , The Pirates of Penzance and Patience (1929, with other designs contributed by Rumbold), and he later designed costumes for Trial by Jury and Iolanthe . The Savoy also hosted London seasons for
22197-580: Was not affected. In 1997, following cuts in the funding of the theatre at Birmingham, the company moved its base to the Grand Theatre, Wolverhampton . Another initiative was to stage a foreign operetta for the first time since Richard D'Oyly Carte's day, in what would be D'Oyly Carte's first co-production. The work chosen was Orpheus in the Underworld , which Opera North presented in 1992 and D'Oyly Carte toured in 1993 as part of its 35-week tour celebrating
22348-425: Was not in London, and these tours also often included London suburbs. The company's musical director from 1929 (having been assistant musical director from 1925) was Isidore Godfrey , who retained the position until 1968 and guest conducted the company in 1975, as part of the centenary season at the Savoy Theatre. Guest conductors during Godfrey's tenure were Sargent and Boyd Neel . Henry Lytton retired in 1934 after
22499-529: Was required to close at Christmas 1878 for repairs to drainage and sewage under the Public Health Act of 1875. Carte used the enforced closure of the theatre to invoke a contract clause reverting the rights of Pinafore and Sorcerer to Gilbert and Sullivan after the initial run of H.M.S. Pinafore . Carte then took a six-month personal lease on the theatre beginning on 1 February 1879. Carte persuaded Gilbert and Sullivan that when their original agreement with
22650-681: Was the first playwright to adopt the term zarzuela for his work entitled El golfo de las sirenas ("The Gulf of the Sirens", 1657). Lope de Vega soon wrote a work titled La selva sin amor, drama con orquesta ("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but Los celos hacen estrellas ("Jealousies Turn Into Stars") by Juan Hidalgo and Juan Vélez, which premiered in 1672, survives and gives us some sense of what
22801-540: Was time to sweep away "bad and lazy" traditions of the old company, calling the production "riotous, zany and subversive ... with a Goonish or Pythonesque sense of slapstick comedy", noting that "The girls are pretty and the boys are handsome, and they sing and dance with a youthful freshness". Also in 1991, the company accepted an offer from the Alexandra Theatre, Birmingham, to make its base there, although its pattern of spring national tours and summer London seasons
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