Gilbert and Sullivan - Revision history

Carla Thiessen at 07:41, 5 January 2024

2024-01-05T07:41:51Z

← Older revision		Revision as of 07:41, 5 January 2024
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	The duo first came together in 1871 to produce a Christmas extravaganza, ''Thespis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).		The duo first came together in 1871 to produce a Christmas extravaganza, ''Thespis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).

	Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), ~~then~~ manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).		Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), at that time manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).

	==Their Partnership and Joint Work==		==Their Partnership and Joint Work==

Pankratz at 20:26, 4 January 2024

2024-01-04T20:26:57Z

← Older revision		Revision as of 20:26, 4 January 2024
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	== Their First Collaboration ==		== Their First Collaboration ==
	The duo first came together in 1871 to produce a Christmas extravaganza, ''~~Thepsis~~'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).		The duo first came together in 1871 to produce a Christmas extravaganza, ''Thespis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).

	Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).		Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).
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	With their third joint work, ''The Sorcerer'' (1877), Gilbert and Sullivan’s formula for the novel genre of English comic opera emerged, the development of which had already begun with their first two collaborations, and which continued to develop in the following six operas (Williams 5). ''The Sorcerer'' was followed by ''H.M.S. Pinafore'' (1878), which proved to be a great success, and ''The Pirates of Penzance'' (1879).		With their third joint work, ''The Sorcerer'' (1877), Gilbert and Sullivan’s formula for the novel genre of English comic opera emerged, the development of which had already begun with their first two collaborations, and which continued to develop in the following six operas (Williams 5). ''The Sorcerer'' was followed by ''H.M.S. Pinafore'' (1878), which proved to be a great success, and ''The Pirates of Penzance'' (1879).

	The collaboration between Gilbert and Sullivan peaked in the late 1870s and 1880s, with the entrepreneurial efforts of Richard D'Oyly Carte stabilizing and supporting it (Williams 77). In 1881, during the run of ''Patience'', Carte built the Savoy Theatre to house the duo’s productions there. ''Patience'' was the first opera to be performed at the Savoy Theatre and it was followed by ''~~Ionlanthe~~'' (1882), ''Princess Ida'' (1884), and ''The Mikado'' (1885), with which the formation process of their innovative genre was substantially completed (Williams 5) and which in turn was followed by ''Ruddigore'' (1887), ''The Yeomen of the Guard'' (1888), and ''The Gondoliers'' (1889), the last great Savoy success. The duo’s joint work became known as the Savoy Operas, derived from the name of the theatre in which they were performed.		The collaboration between Gilbert and Sullivan peaked in the late 1870s and 1880s, with the entrepreneurial efforts of Richard D'Oyly Carte stabilizing and supporting it (Williams 77). In 1881, during the run of ''Patience'', Carte built the Savoy Theatre to house the duo’s productions there. ''Patience'' was the first opera to be performed at the Savoy Theatre and it was followed by ''Iolanthe'' (1882), ''Princess Ida'' (1884), and ''The Mikado'' (1885), with which the formation process of their innovative genre was substantially completed (Williams 5) and which in turn was followed by ''Ruddigore'' (1887), ''The Yeomen of the Guard'' (1888) and ''The Gondoliers'' (1889), the last great Savoy success. The duo’s joint work became known as the Savoy Operas, derived from the name of the theatre in which they were performed.

	===The Carpet Quarrel and their Last Works===		===The Carpet Quarrel and their Last Works===

Carla Thiessen at 18:30, 4 January 2024

2024-01-04T18:30:27Z

← Older revision		Revision as of 18:30, 4 January 2024
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	===The Carpet Quarrel and their Last Works===		===The Carpet Quarrel and their Last Works===
	In the late 1880s, however, relations between the partners had become strained, partly due to artistic disputes over new subjects and Gilbert’s pettiness regarding financial matters (“W.S. Gilbert”). A quarrel arose when Savoy manager Carte requested that new carpets for the Savoy Theatre be paid for out of ''The Gondoliers'' profits ("Beginner's Guide"). This disagreement over the specific contractual regulations on profit distribution ended with Sullivan supporting Carte and Gilbert eventually breaking off the partnership.		In the late 1880s, however, relations between the partners had become strained, partly due to artistic disputes over new subjects and Gilbert’s pettiness regarding financial matters (“W.S. Gilbert”). A quarrel arose when Savoy manager Carte requested that new carpets for the Savoy Theatre be paid for out of ''The Gondoliers'' profits ("Beginner's Guide"). This disagreement over the specific contractual regulations on profit distribution ended with Sullivan supporting Carte and with Gilbert eventually breaking off the partnership.

	The duo remained estranged until 1893, when they worked together again for the production of ''Utopia, Limited'' and then again in 1896 for their last joint work, ''The Grand Duke''. Their collaboration ultimately came to an end after 1896, when ''The Grand Duke'' proved unsuccessful, but by then they had firmly established the genre of English comic opera (Williams 365) and to this day, the enduring impact of their legacy is still present.		The duo remained estranged until 1893, when they worked together again for the production of ''Utopia, Limited'' and then again in 1896 for their last joint work, ''The Grand Duke''. Their collaboration ultimately came to an end after 1896, when ''The Grand Duke'' proved unsuccessful, but by then they had firmly established the genre of English comic opera (Williams 365) and to this day, the enduring impact of their legacy is still present.

Carla Thiessen at 07:51, 2 January 2024

2024-01-02T07:51:45Z

Carla Thiessen at 07:48, 2 January 2024

2024-01-02T07:48:33Z

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-The designation Gilbert and Sullivan alludes to a British Victorian opera duo, consisting of the playwright and librettist William Schwenck Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900), and the works of musical theatre they created collaboratively. Between 1871 and 1896, they worked together on fourteen comic operas that enjoyed significant international acclaim.
+The designation ''Gilbert and Sullivan'' alludes to a British Victorian opera duo, consisting of the playwright and librettist William Schwenck Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900), and the works of musical theatre they created collaboratively. Between 1871 and 1896, they worked together on fourteen comic operas that enjoyed significant international acclaim.
 By parodying older, both British and Continental, works and genres, Gilbert and Sullivan created the distinctive form of English comic opera, while also engaging in parodies of cultural formations such as behaviours, attitudes, institutions and, for example, stereotypes such as ‘the angel in the house’ as a way of playing with these conventions of social life (Williams xiii).
 == Their First Collaboration ==
-The duo first came together in 1871 to produce a Christmas extravaganza, Thepsis, for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).
+The duo first came together in 1871 to produce a Christmas extravaganza, ''Thepsis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).
-Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work Trial by Jury (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).
+Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).
 ==Their Partnership and Joint Work==

Carla Thiessen at 07:34, 2 January 2024

2024-01-02T07:34:15Z

← Older revision		Revision as of 07:34, 2 January 2024
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	Gilbert and Sullivan created 14 comic operas ~~together~~.		The designation Gilbert and Sullivan alludes to a British Victorian opera duo, consisting of the playwright and librettist William Schwenck Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900), and the works of musical theatre they created collaboratively. Between 1871 and 1896, they worked together on fourteen comic operas that enjoyed significant international acclaim.
			By parodying older, both British and Continental, works and genres, Gilbert and Sullivan created the distinctive form of English comic opera, while also engaging in parodies of cultural formations such as behaviours, attitudes, institutions and, for example, stereotypes such as ‘the angel in the house’ as a way of playing with these conventions of social life (Williams xiii).

	== First Collaboration ==		== Their First Collaboration ==
			The duo first came together in 1871 to produce a Christmas extravaganza, Thepsis, for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).
			Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work Trial by Jury (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).

			==Their Partnership and Joint Work==

Carla Thiessen at 12:07, 12 December 2023

2023-12-12T12:07:24Z

← Older revision		Revision as of 12:07, 12 December 2023
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	Gilbert and Sullivan created 14 comic operas together.		Gilbert and Sullivan created 14 comic operas together.

			== First Collaboration ==

Carla Thiessen: Created page with "Gilbert and Sullivan created 14 comic operas together."

2023-12-05T08:55:02Z

Created page with "Gilbert and Sullivan created 14 comic operas together."

New page

Gilbert and Sullivan created 14 comic operas together.

← Older revision		Revision as of 07:51, 2 January 2024
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	The designation ''Gilbert and Sullivan'' alludes to a British Victorian opera duo, consisting of the playwright and librettist William Schwenck Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900), and the works of musical theatre they created collaboratively. Between 1871 and 1896, they worked together on fourteen comic operas that enjoyed significant international acclaim.		The designation ''Gilbert and Sullivan'' alludes to a British Victorian opera duo, consisting of the playwright and librettist William Schwenck Gilbert (1836-1911) and the composer Arthur Sullivan (1842-1900), and the works of musical theatre they created collaboratively. Between 1871 and 1896, they worked together on fourteen comic operas that enjoyed significant international acclaim.

	By parodying older, both British and Continental, works and genres, Gilbert and Sullivan created the distinctive form of English comic opera, while also engaging in parodies of cultural formations such as behaviours, attitudes, institutions and, for example, stereotypes such as ‘the angel in the house’ as a way of playing with these conventions of social life (Williams xiii).		By parodying older, both British and Continental, works and genres, Gilbert and Sullivan created the distinctive form of English comic opera, while also engaging in parodies of cultural formations such as behaviours, attitudes, institutions and, for example, stereotypes such as ‘the angel in the house’ as a way of playing with these conventions of social life (Williams xiii).

	== Their First Collaboration ==		== Their First Collaboration ==
	The duo first came together in 1871 to produce a Christmas extravaganza, ''Thepsis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).		The duo first came together in 1871 to produce a Christmas extravaganza, ''Thepsis'', for John Hollingshead, manager of the Gaiety Theatre in London. By that time both of them already had their careers in their respective fields consolidated, with Sullivan already having established himself as leading composer and Gilbert as successful playwright (Williams 1, 3).

	Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).		Their first operatic collaboration only occurred in 1875, when a composer was needed for the musical backdrop of one of Gilbert’s librettos. The resulting work ''Trial by Jury'' (1875) was instantly popular and ran for over a year (“Arthur Sullivan”). This second collaboration was instigated on the initiative of Richard D’Oyly Carte (1844-1901), then manager of the Royalty Theatre. His desire to establish a distinctive school of English comic opera and his consequent encouragement and leadership were central to bringing and keeping Gilbert and Sullivan together (Williams 1). Upon their early success, Carte formed the Comedy Opera Company with the aim to present and promote Gilbert and Sullivan’s works (“Arthur Sullivan”).

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	===Their Success and the Savoy Theatre===		===Their Success and the Savoy Theatre===
	With their third joint work, ''The Sorcerer'' (1877), Gilbert and Sullivan’s formula for the novel genre of English comic opera emerged, the development of which had already begun with their first two collaborations, and which continued to develop in the following six operas (Williams 5). ''The Sorcerer'' was followed by ''H.M.S. Pinafore'' (1878), which proved to be a great success, and ''The Pirates of Penzance'' (1879).		With their third joint work, ''The Sorcerer'' (1877), Gilbert and Sullivan’s formula for the novel genre of English comic opera emerged, the development of which had already begun with their first two collaborations, and which continued to develop in the following six operas (Williams 5). ''The Sorcerer'' was followed by ''H.M.S. Pinafore'' (1878), which proved to be a great success, and ''The Pirates of Penzance'' (1879).

	The collaboration between Gilbert and Sullivan peaked in the late 1870s and 1880s, with the entrepreneurial efforts of Richard D'Oyly Carte stabilizing and supporting it (Williams 77). In 1881, during the run of ''Patience'', Carte built the Savoy Theatre to house the duo’s productions there. ''Patience'' was the first opera to be performed at the Savoy Theatre and it was followed by ''Ionlanthe'' (1882), ''Princess Ida'' (1884), and ''The Mikado'' (1885), with which the formation process of their innovative genre was substantially completed (Williams 5) and which in turn was followed by ''Ruddigore'' (1887), ''The Yeomen of the Guard'' (1888), and ''The Gondoliers'' (1889), the last great Savoy success. The duo’s joint work became known as the Savoy Operas, derived from the name of the theatre in which they were performed.		The collaboration between Gilbert and Sullivan peaked in the late 1870s and 1880s, with the entrepreneurial efforts of Richard D'Oyly Carte stabilizing and supporting it (Williams 77). In 1881, during the run of ''Patience'', Carte built the Savoy Theatre to house the duo’s productions there. ''Patience'' was the first opera to be performed at the Savoy Theatre and it was followed by ''Ionlanthe'' (1882), ''Princess Ida'' (1884), and ''The Mikado'' (1885), with which the formation process of their innovative genre was substantially completed (Williams 5) and which in turn was followed by ''Ruddigore'' (1887), ''The Yeomen of the Guard'' (1888), and ''The Gondoliers'' (1889), the last great Savoy success. The duo’s joint work became known as the Savoy Operas, derived from the name of the theatre in which they were performed.

	===The Carpet Quarrel and their Last Works===		===The Carpet Quarrel and their Last Works===
	In the late 1880s, however, relations between the partners had become strained, partly due to artistic disputes over new subjects and Gilbert’s pettiness regarding financial matters (“W.S. Gilbert”). A quarrel arose when Savoy manager Carte requested that new carpets for the Savoy Theatre be paid for out of ''The Gondoliers'' profits ("Beginner's Guide"). This disagreement over the specific contractual regulations on profit distribution ended with Sullivan supporting Carte and Gilbert eventually breaking off the partnership.		In the late 1880s, however, relations between the partners had become strained, partly due to artistic disputes over new subjects and Gilbert’s pettiness regarding financial matters (“W.S. Gilbert”). A quarrel arose when Savoy manager Carte requested that new carpets for the Savoy Theatre be paid for out of ''The Gondoliers'' profits ("Beginner's Guide"). This disagreement over the specific contractual regulations on profit distribution ended with Sullivan supporting Carte and Gilbert eventually breaking off the partnership.

	The duo remained estranged until 1893, when they worked together again for the production of ''Utopia, Limited'' and then again in 1896 for their last joint work, ''The Grand Duke''. Their collaboration ultimately came to an end after 1896, when ''The Grand Duke'' proved unsuccessful, but by then they had firmly established the genre of English comic opera (Williams 365) and to this day, the enduring impact of their legacy is still present.		The duo remained estranged until 1893, when they worked together again for the production of ''Utopia, Limited'' and then again in 1896 for their last joint work, ''The Grand Duke''. Their collaboration ultimately came to an end after 1896, when ''The Grand Duke'' proved unsuccessful, but by then they had firmly established the genre of English comic opera (Williams 365) and to this day, the enduring impact of their legacy is still present.

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	==Bibliography==		==Bibliography==
	“Arthur Sullivan.” ''Britannica Academic'', 7 Aug. 2019, academic.eb.com/levels/collegiate/article/Arthur-Sullivan/70260. Accessed 2 Jan. 2024.		“Arthur Sullivan.” ''Britannica Academic'', 7 Aug. 2019, academic.eb.com/levels/collegiate/article/Arthur-Sullivan/70260. Accessed 2 Jan. 2024.

	“The Beginner’s Guide to Gilbert & Sullivan.” ''English National Opera'', 30 June 2023, www.eno.org/discover-opera/beginners-guide-gilbert-sullivan/. Accessed 27 Dec. 2023.		“The Beginner’s Guide to Gilbert & Sullivan.” ''English National Opera'', 30 June 2023, www.eno.org/discover-opera/beginners-guide-gilbert-sullivan/. Accessed 27 Dec. 2023.

	Williams, Carolyn. ''Gilbert and Sullivan: Gender, Genre, Parody''. Columbia UP, 2011.		Williams, Carolyn. ''Gilbert and Sullivan: Gender, Genre, Parody''. Columbia UP, 2011.

	“W.S. Gilbert.” ''Britannica Academic'', 7 Aug. 2019, academic.eb.com/levels/collegiate/article/WS-Gilbert/36813. Accessed 2 Jan. 2024.		“W.S. Gilbert.” ''Britannica Academic'', 7 Aug. 2019, academic.eb.com/levels/collegiate/article/WS-Gilbert/36813. Accessed 2 Jan. 2024.