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{{short description|Opera genre}}
{{short description|Opera genre}}
{{Use dmy dates|date=October 2012}}
{{Use dmy dates|date=July 2021}}
[[File:1881 Patience.jpg|right|250px|1881 Programme for ''[[Patience (opera)|Patience]]'']]
[[File:1881 Patience.jpg|right|thumb|1881 Programme for ''[[Patience (opera)|Patience]]'']]
'''Savoy opera''' was a style of [[comic opera]] that developed in [[Victorian England]] in the late 19th century, with [[W. S. Gilbert]] and [[Arthur Sullivan]] as the original and most successful practitioners. The name is derived from the [[Savoy Theatre]], which [[impresario]] [[Richard D'Oyly Carte]] built to house the [[Gilbert and Sullivan]] pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve a foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern [[Musical theatre|musical]].
'''Savoy opera''' was a style of [[comic opera]] that developed in [[Victorian England]] in the late 19th century, with [[W. S. Gilbert]] and [[Arthur Sullivan]] as the original and most successful practitioners. The name is derived from the [[Savoy Theatre]], which [[impresario]] [[Richard D'Oyly Carte]] built to house the [[Gilbert and Sullivan]] pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve a foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern [[Musical theatre|musical]].


Gilbert, Sullivan, Carte and other [[Victorian era]] British composers, librettists and producers,<ref>See [[German Reed Entertainments|German Reeds]], [[Frederic Clay]], [[Edward Solomon]] and [[F. C. Burnand]]</ref> as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of the often risqué continental European [[operetta]]s that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", "[[comic operas]]", or both.<ref>See, e. g., Crowther, Stedman, Bailey, Bradley, Ainger and Jacobs. Gilbert & Sullivan described 12 of their 14 collaborations as "operas":
Gilbert, Sullivan, Carte and other [[Victorian era]] British composers, librettists and producers,<ref>Such as [[German Reed Entertainments|German Reeds]], [[Frederic Clay]], [[Edward Solomon]] and [[F. C. Burnand]]</ref> as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of the often risqué continental European [[operetta]]s that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", "[[comic operas]]", or both.<ref>See, e. g., Crowther, Stedman, Bailey, Bradley, Ainger and Jacobs. Gilbert & Sullivan described 13 of their 14 collaborations as "operas" or "operatic":
*''Thespis'': an "Operatic Extravaganza"
*''The Sorcerer'': a "Modern Comic Opera"
*''The Sorcerer'': a "Modern Comic Opera"
*''H.M.S. Pinafore'': a "Nautical Comic Opera"
*''H.M.S. Pinafore'': a "Nautical Comic Opera"
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*''The Gondoliers'': a "Comic Opera"
*''The Gondoliers'': a "Comic Opera"
*''Utopia, Limited'', a "Comic Opera"
*''Utopia, Limited'', a "Comic Opera"
*''The Grand Duke'': a "Comic Opera"
*''The Grand Duke'': a "Comic Opera"</ref> However, the ''Penguin Opera Guides'' and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas.<ref>''The New Penguin Opera Guide'', ed. Amanda Holden, Penguin Books, London 2001 and ''The Penguin Concise Guide to Opera'', ed. Amanda Holden, Penguin Books, London 2005 both state: "[[Operetta]] is the internationally recognized term for the type of work on which William Schwenck Gilbert and Sullivan collaborated under Richard D'Oyly Carte's management (1875–96), but they themselves used the words 'comic opera'". See also the ''Oxford Dictionary of Opera'', ed. John Warrack and Ewan West, Oxford University Press 1992 and ''The New Grove Dictionary of Opera'', 4 vols, ed. Stanley Sadie, Macmillan, New York 1992</ref>
They called the 14th, ''Trial by Jury'', a "Dramatic Cantata".</ref> However, the ''Penguin Opera Guides'' and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas.<ref>''The New Penguin Opera Guide'', ed. Amanda Holden, Penguin Books, London 2001 and ''The Penguin Concise Guide to Opera'', ed. Amanda Holden, Penguin Books, London 2005 both state: "[[Operetta]] is the internationally recognized term for the type of work on which William Schwenck Gilbert and Sullivan collaborated under Richard D'Oyly Carte's management (1875–96), but they themselves used the words 'comic opera'". See also the ''Oxford Dictionary of Opera'', ed. John Warrack and Ewan West, Oxford University Press 1992 and ''The New Grove Dictionary of Opera'', 4 vols, ed. Stanley Sadie, Macmillan, New York 1992</ref>


''[[Patience (operetta)|Patience]]'' (1881) was the first opera to appear at the Savoy Theatre, and thus, in a strict sense, the first true "Savoy Opera", although the term "Savoy Opera" has, for over a century, included the complete set of thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte:
Gilbert and Sullivan's early operas played at other London theatres, and ''[[Patience (operetta)|Patience]]'' (1881) was the first opera to appear at the Savoy Theatre, and thus, in a strict sense, the first true "Savoy Opera", although the term "Savoy Opera" has, for over a century, referred to all thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte.


⚫
[[File:1881 Savoy Theatre.jpg|right|thumb|upright|Savoy Theatre, c. 1881]]
:''[[Trial by Jury]]'' (1875)
:''[[The Sorcerer]]'' (1877)
:''[[H.M.S. Pinafore]]'', or ''The Lass that Loved a Sailor'' (1878)
:''[[The Pirates of Penzance]]'', or ''The Slave of Duty'' (1880)
:''[[Patience (operetta)|Patience]]'', or ''Bunthorne's Bride'' (1881)
:''[[Iolanthe]]'', or ''The Peer and the Peri'' (1882)
:''[[Princess Ida]]'', or ''Castle Adamant'' (1884)
:''[[The Mikado]]'', or ''The Town of Titipu'' (1885)
:''[[Ruddigore]]'', or ''The Witch's Curse'' (1887)
:''[[The Yeomen of the Guard]]'', or ''The Merryman and his Maid'' (1888)
:''[[The Gondoliers]]'', or ''The King of Barataria'' (1889)
:''[[Utopia, Limited]]'', or ''The Flowers of Progress'' (1893)
:''[[The Grand Duke]]'', or ''The Statutory Duel'' (1896)

⚫
[[File:1881 Savoy Theatre.jpg|right|thumb|200px|c.1881 Savoy Theatre]]


==Other definitions==
==Other definitions==
During the years when the [[Gilbert and Sullivan]] ("G&S") operas were being written, [[Richard D'Oyly Carte]] produced operas by other composer–librettist teams, either as [[curtain raiser (drama)|curtain raisers]] to the G&S pieces, or to fill the theatre when no G&S piece was available.<ref name=CR>Walters, Michael and George Low. [http://gsarchive.net/companions/walters_low.html "Curtain Raisers"], The Gilbert and Sullivan Archive, 16 August, 2011, accessed 27 February 2017</ref> To their contemporaries, the term "Savoy Opera" referred to any opera that appeared at that theatre, regardless of who wrote it.
During the years when the [[Gilbert and Sullivan]] ("G&S") operas were being written, [[Richard D'Oyly Carte]] also produced, at the Savoy Theatre, operas by other composer–librettist teams, either as [[curtain raiser (drama)|curtain raisers]] to the G&S pieces, or to fill the theatre when no G&S piece was available.<ref name=CR>Walters, Michael and George Low. [http://gsarchive.net/companions/walters_low.html "Curtain Raisers"], The Gilbert and Sullivan Archive, 16 August 2011, retrieved 27 February 2017</ref> To his contemporaries, the term "Savoy Opera" referred to any opera that appeared at that theatre, regardless of who wrote it.


Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the [[Savoy Theatre]] from the date it opened (10 October 1881) until ''[[The Gondoliers]]'' closed on 20 June 1891. Over the next decade, there were only two new G&S pieces (''[[Utopia Limited]]'' and ''[[The Grand Duke]]''), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D'Oyly Carte died on 3 April 1901. If the nexus of Carte and the [[Savoy Theatre]] is used to define "Savoy Opera," then the last new Savoy Opera was ''[[The Rose of Persia]]'' (music by Sullivan, libretto by [[Basil Hood]]), which ran from 28 November 1899 – 28 June 1900.
Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the [[Savoy Theatre]] from the date it opened (10 October 1881) until ''[[The Gondoliers]]'' closed on 20 June 1891. Over the next decade, there were only two new G&S pieces (''[[Utopia Limited]]'' and ''[[The Grand Duke]]''), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D'Oyly Carte died on 3 April 1901. If the nexus of Carte and the [[Savoy Theatre]] is used to define "Savoy Opera," then the last new Savoy Opera was ''[[The Rose of Persia]]'' (music by Sullivan, libretto by [[Basil Hood]]), which ran from 28 November 1899 – 28 June 1900.


[[File:Gilbert-workman-german.jpg|left|thumb|250px|Gilbert, Workman and German at a rehearsal]]
[[File:Gilbert-workman-german.jpg|left|thumb|250px|Gilbert, Workman and German at a rehearsal]]
After Carte's death, his wife [[Helen Carte]] assumed management of the theatre. She continued to produce new pieces in the G&S style, along with G&S revivals, both at the Savoy and on tour. In early 1903, she leased the theatre to [[Ben Greet]], who produced ''[[A Princess of Kensington]]'' (music by [[Edward German]], libretto by [[Basil Hood]]), which ran for four months. This is the point that Cyril Rollins and R. John Witts adopt as the end of the Savoy Operas. After ''A Princess of Kensington'', Mrs. D'Oyly Carte relinquished control of the theatre until 8 December 1906, when she produced two seasons of G&S revivals in repertory, with Gilbert returning to direct.
After Carte's death, his wife [[Helen Carte]] assumed management of the theatre. In 1901, she produced Sullivan's last opera, ''[[The Emerald Isle]]'' (finished after Sullivan's death by [[Edward German]]), and during the run of that opera, she hired [[William Greet]] as manager of the theatre. Later that year, she leased the theatre to Greet, who then produced ''[[Ib and Little Christina]]'', ''[[The Willow Pattern (opera)|The Willow Pattern]]'', a revival of ''Iolanthe'', ''[[Merrie England (opera)|Merrie England]]'' (1902) and ''[[A Princess of Kensington]]'' (1903), each with a cast made up largely of Carte's Savoy company. Cyril Rollins and R. John Witts adopt ''A Princess of Kensington'' as the last of the Savoy Operas. After ''A Princess of Kensington'' closed in May 1903, Mrs. Carte leased the theatre to unrelated parties until late 1906, when she produced the first of her two seasons of G&S revivals in repertory at the Savoy, with Gilbert returning to direct.


In March 1909, [[Charles H. Workman]] assumed control of the theatre, producing three new pieces, including one by Gilbert himself, ''[[Fallen Fairies]]'' (music by [[Edward German]]). The last of these Workman-produced works came in early 1910, ''[[Two Merry Monarchs]]'', by [[Arthur Anderson (dramatist)|Arthur Anderson]], George Levy, and Hartley Carrick, with music by [[Orlando Morgan]]. The contemporary press referred to these works as "Savoy Operas",<ref>See e.g., ''The Manchester Guardian'', 17 September 1910, p. 1, advertising ''[[The Mountaineers (opera)|The Mountaineers]]''.</ref> and S. J. Adair Fitz-Gerald regarded Workman's pieces as the last Savoy Operas.<ref>See also Farrell, ''passim''</ref>
In March 1909, [[Charles H. Workman]] leased the theatre, producing three new pieces, including one by Gilbert, ''[[Fallen Fairies]]'' (music by Edward German). The last of these Workman-produced works came in early 1910, ''[[Two Merry Monarchs]]'', by [[Arthur Anderson (dramatist)|Arthur Anderson]], George Levy, and Hartley Carrick, with music by [[Orlando Morgan]]. The contemporary press referred to these works as "Savoy Operas",<ref>See, e.g., ''The Manchester Guardian'', 17 September 1910, p. 1, advertising ''[[The Mountaineers (opera)|The Mountaineers]]''.</ref> and S. J. Adair Fitz-Gerald regarded Workman's pieces as the last Savoy Operas.<ref>See also Farrell, ''passim''</ref>


Fitz-Gerald wrote his book, ''The Story of the Savoy Opera'', in 1924, when these other pieces were still within living memory. But over time, all of the works produced at the Savoy by composers and librettists other than [[Gilbert and Sullivan]] were largely forgotten. The term "Savoy Opera" came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan – the 1871 opera ''[[Thespis (operetta)|Thespis]]'' – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D'Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Given its lack of a D'Oyly Carte or Savoy connection, ''Thespis'' has a tenuous claim to be a "Savoy Opera." However, Rollins & Witts include it in their compendium of the Savoy Operas, as does [[Geoffrey Smith (radio presenter)|Geoffrey Smith]]. The ''Oxford English Dictionary'' defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre".<ref> [http://www.oed.com/view/Entry/171499?redirectedFrom=Savoy+ "Savoy"], ''Oxford English Dictionary", Oxford University Press, June 2017, accessed 9 December 2017 {{subscription}}</ref>
Fitz-Gerald wrote his book, ''The Story of the Savoy Opera'', in 1924, when these other pieces were still within living memory. But over the ensuing decades, the works produced at the Savoy by composers and librettists other than [[Gilbert and Sullivan]] were forgotten or infrequently revived. The term "Savoy Opera" came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan – the 1871 opera ''[[Thespis (operetta)|Thespis]]'' – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D'Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Nevertheless, Rollins & Witts include it in their compendium of the Savoy Operas, as does [[Geoffrey Smith (radio presenter)|Geoffrey Smith]]. The ''Oxford English Dictionary'' defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre".<ref>[http://www.oed.com/view/Entry/171499?redirectedFrom=Savoy+ "Savoy"], ''Oxford English Dictionary", Oxford University Press, June 2017, retrieved 9 December 2017 {{subscription required}}</ref>


==Complete list==
==Complete list==
The following table shows all of the full-length operas that could be considered "Savoy Operas" under any of the definitions mentioned above. Only first runs are shown. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the next table below.
The following table shows all of the full-length operas that could be considered "Savoy Operas" under any of the definitions mentioned above. Only first runs are shown. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the next table below.


{| class="wikitable"
{| class="wikitable"
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|-
|-
| rowspan=2|''[[Mirette (opera)|Mirette]]'' || rowspan=2| [[Harry Greenbank]] & [[Fred E. Weatherly]] (revised by [[Adrian Ross]]) || rowspan=2| [[André Messager]] || rowspan=2| Savoy
| rowspan=2|''[[Mirette (opera)|Mirette]]'' || rowspan=2| [[Harry Greenbank]] & [[Fred E. Weatherly]] (revised by [[Adrian Ross]]) || rowspan=2| [[André Messager]] || rowspan=2| Savoy
|3 July 1893 || 11 August 1894 ||align=center| 41
|3 July 1894 || 11 August 1894 ||align=center| 41
|-
|-
| 6 October 1894 || 6 December 1894 ||align=center| 61
| 6 October 1894 || 6 December 1894 ||align=center| 61
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|20 February 1897 || 24 April 1897 ||align=center| 61
|20 February 1897 || 24 April 1897 ||align=center| 61
|-
|-
|''[[La Grande-Duchesse de Gérolstein|The Grand Duchess of Gerolstein]]'' || [[Charles H. Brookfield]] & [[Adrian Ross]] || [[Jacques Offenbach]] || Savoy
|''[[La Grande-Duchesse de Gérolstein|The Grand Duchess of Gerolstein]]''{{refn|The production was variously billed as ''The Grand Duchess of Gerolstein'' or just ''The Grand Duchess''.<ref>"Savoy", ''The Times'', 1 December 1897, p. 8, and "Savoy" (column 5) and "Savoy Theatre" (column 6), ''The Times'' 6 December 1897, p. 10</ref>|group=n}} || [[Charles H. Brookfield]] & [[Adrian Ross]] || [[Jacques Offenbach]] || Savoy
| 4 December 1897 || 12 March 1898 ||align=center| 104
| 4 December 1897 || 12 March 1898 ||align=center| 104
|-
|-
Line 133: Line 121:
|28 May 1898 || 16 July 1898 ||align=center| 50
|28 May 1898 || 16 July 1898 ||align=center| 50
|-
|-
|''[[The Lucky Star]]'' || [[Charles H. Brookfield]], [[Adrian Ross]], & Aubrey Hopwood || [[Ivan Caryll]] || Savoy
|''[[The Lucky Star]]'' || [[Charles H. Brookfield]], [[Adrian Ross]], & [[Aubrey Hopwood]] || [[Ivan Caryll]] || Savoy
| 7 January 1899 || 31 May 1899 ||align=center| 143
| 7 January 1899 || 31 May 1899 ||align=center| 143
|-
|-
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|rowspan=2|14 November 1901 || rowspan=2| 29 November 1901 ||align=center rowspan=2| 16<ref>''The Willow Pattern'' continued to run after ''Ib and Little Christina'' closed, as a companion piece to ''Iolanthe'', for an original run of 110 performances.</ref>
|rowspan=2|14 November 1901 || rowspan=2| 29 November 1901 ||align=center rowspan=2| 16<ref>''The Willow Pattern'' continued to run after ''Ib and Little Christina'' closed, as a companion piece to ''Iolanthe'', for an original run of 110 performances.</ref>
|-
|-
|''[[The Willow Pattern]]'' || [[Basil Hood]] || Cecil Cook
|''[[The Willow Pattern (opera)|The Willow Pattern]]'' || [[Basil Hood]] || Cecil Cook
|-
|-
|rowspan=2|''[[Merrie England (opera)|Merrie England]]'' ||rowspan=2|[[Basil Hood]] ||rowspan=2|[[Edward German]] ||rowspan=2|Savoy
|rowspan=2|''[[Merrie England (opera)|Merrie England]]'' ||rowspan=2|[[Basil Hood]] ||rowspan=2|[[Edward German]] ||rowspan=2|Savoy
Line 155: Line 143:
|22 January 1903 || 16 May 1903 ||align=center| 115
|22 January 1903 || 16 May 1903 ||align=center| 115
|-
|-
|''[[The Mountaineers (opera)|The Mountaineers]]'' || Guy Eden || [[Reginald Somerville]] || Savoy
|''[[The Mountaineers (opera)|The Mountaineers]]'' || [[Guy Eden]] || [[Reginald Somerville]] || Savoy
|29 September 1909 || 27 November 1909 ||align=center| 61
|29 September 1909 || 27 November 1909 ||align=center| 61
|-
|-
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The fashion in the late [[Victorian era]] and [[Edwardian era]] was to present long evenings in the theatre, and so full-length pieces were often presented together with companion pieces.<ref>Lee Bernard. [http://www.sheffieldtelegraph.co.uk/classical/Swashbuckling-Savoy-curtainraiser-.4348391.jp "Swash-buckling Savoy curtain-raiser"], ''Sheffield Telegraph'', 1 August 2008</ref> During the original runs of the Savoy Operas, each full-length work was normally accompanied by one or two short companion pieces. A piece that began the performance was called a [[curtain raiser (drama)|curtain raiser]], and one that ended the performance was called an afterpiece. [[W. J. MacQueen-Pope]] commented, concerning the curtain raisers:
The fashion in the late [[Victorian era]] and [[Edwardian era]] was to present long evenings in the theatre, and so full-length pieces were often presented together with companion pieces.<ref>Lee Bernard. [http://www.sheffieldtelegraph.co.uk/classical/Swashbuckling-Savoy-curtainraiser-.4348391.jp "Swash-buckling Savoy curtain-raiser"], ''Sheffield Telegraph'', 1 August 2008</ref> During the original runs of the Savoy Operas, each full-length work was normally accompanied by one or two short companion pieces. A piece that began the performance was called a [[curtain raiser (drama)|curtain raiser]], and one that ended the performance was called an afterpiece. [[W. J. MacQueen-Pope]] commented, concerning the curtain raisers:


<blockquote>This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. …[They] served to give young actors and actresses a chance to win their spurs…the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.<ref>MacQueen-Pope, Walter James. ''Carriages at Eleven'' (1947), London: Robert Hale and Co., p. 23</ref></blockquote>
<blockquote>This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.<ref>MacQueen-Pope, Walter James. ''Carriages at Eleven'' (1947), London: Robert Hale and Co., p. 23</ref></blockquote>


The following table lists the known companion pieces that appeared at the Opera Comique or the Savoy Theatre during the original runs and principal revivals of the Savoy Operas through 1909. There may have been more such pieces that have not yet been identified. In a number of cases, the exact opening and closing dates are not known. Date ranges overlap, since it was common to rotate two or more companion pieces at performances during the same period to be played with the main piece.<ref name=CR/>
The following table lists the known companion pieces that appeared at the Opera Comique or the Savoy Theatre during the original runs and principal revivals of the Savoy Operas through 1909. There may have been more such pieces that have not yet been identified. In a number of cases, the exact opening and closing dates are not known. Date ranges overlap, since it was common to rotate two or more companion pieces at performances during the same period to be played with the main piece.<ref name=CR/>
Line 423: Line 411:
|19 May 1900
|19 May 1900
|28 June 1900
|28 June 1900
|''[[The Rose of Persia|Rose of Persia]]''
|''[[The Rose of Persia]]''
|-
|-
| 8 December 1900
| 8 December 1900
Line 441: Line 429:
|''[[Patience (opera)|Patience]]''
|''[[Patience (opera)|Patience]]''
|-
|-
|''[[The Willow Pattern]]''
|''[[The Willow Pattern (opera)|The Willow Pattern]]''
|rowspan=2|[[Basil Hood]]
|rowspan=2|[[Basil Hood]]
|rowspan=2|Cecil Cook
|rowspan=2|Cecil Cook
Line 455: Line 443:
|-
|-
|rowspan=2|''[[A Welsh Sunset]]''
|rowspan=2|''[[A Welsh Sunset]]''
|rowspan=2|Frederick Fenn
|rowspan=2|[[Frederick Fenn]]
|rowspan=2|[[Philip Michael Faraday]]
|rowspan=2|[[Philip Michael Faraday]]
|rowspan=2|Savoy
|rowspan=2|Savoy
Line 469: Line 457:


==Notes==
==Notes==
{{Reflist|30em}}
{{reflist|group=n}}


==References==
==References==
{{Reflist}}
⚫
*{{cite book|last=Farrell|first=Scott|year=2009|title=The C. H. Workman Productions: A Centenary Review of the Final Savoy Operas |publisher=Scott Farrell|isbn=}}

==Sources==
⚫
*{{cite book|last=Farrell|first=Scott|year=2009|title=The C. H. Workman Productions: A Centenary Review of the Final Savoy Operas |publisher=Scott Farrell}}
* {{cite book | last=Fitz-Gerald |first=S. J. Adair | title=The Story of the Savoy Opera | publisher=Stanley Paul & Co| location=London | year=1924}}
* {{cite book | last=Fitz-Gerald |first=S. J. Adair | title=The Story of the Savoy Opera | publisher=Stanley Paul & Co| location=London | year=1924}}
* {{cite book|last=Rollins|first=Cyril|year=1962|author2=R. John Witts |title=The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961|location=London|publisher=Michael Joseph|oclc=504581419}}
* {{cite book|last=Rollins|first=Cyril|year=1962|author2=R. John Witts |title=The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961|location=London|publisher=Michael Joseph|oclc=504581419}}
Line 482: Line 473:
* {{cite book | last=Gilbert | first=W. S. | title=The Savoy Operas | publisher=Wordsworth Editions Ltd | location=Hertfordshire, England | year=1994 | isbn=1-85326-313-3 | url-access=registration | url=https://archive.org/details/savoyoperas00gilb }}
* {{cite book | last=Gilbert | first=W. S. | title=The Savoy Operas | publisher=Wordsworth Editions Ltd | location=Hertfordshire, England | year=1994 | isbn=1-85326-313-3 | url-access=registration | url=https://archive.org/details/savoyoperas00gilb }}
* {{cite book|last=Jacobs|first=Arthur|year=1992|title=Arthur Sullivan – A Victorian Musician|location=Portland, OR|publisher=Amadeus Press|edition=Second}}
* {{cite book|last=Jacobs|first=Arthur|year=1992|title=Arthur Sullivan – A Victorian Musician|location=Portland, OR|publisher=Amadeus Press|edition=Second}}
* {{cite book|last=O'Brien|first=Christopher|year=2015|title=Savoy Curtain-Raisers, Musica Britannica series|location=London|publisher=Stainer & Bell|isbn=}}
* {{cite book|last=O'Brien|first=Christopher|year=2015|title=Savoy Curtain-Raisers, Musica Britannica series|location=London|publisher=Stainer & Bell}}
* {{cite book | last=Smith | first=Geoffrey | authorlink=Geoffrey Smith (radio presenter) | title=The Savoy Operas | publisher=Robert Hale Limited | location=London | year=1983}}
* {{cite book | last=Smith | first=Geoffrey | author-link=Geoffrey Smith (radio presenter) | title=The Savoy Operas | publisher=Robert Hale Limited | location=London | year=1983}}
* {{cite book|last=Stedman|first=Jane W.|year=1996|title=W. S. Gilbert, A Classic Victorian & His Theatre|publisher=Oxford University Press|isbn=0-19-816174-3}}
* {{cite book|last=Stedman|first=Jane W.|year=1996|title=W. S. Gilbert, A Classic Victorian & His Theatre|publisher=Oxford University Press|isbn=0-19-816174-3}}
* {{cite book|last=Williams|first=Carolyn|year=2010|title=Gilbert and Sullivan: Gender, Genre, Parody|location=New York|publisher=Columbia University Press|isbn=0-231-14804-6}}
* {{cite book|last=Williams|first=Carolyn|year=2010|title=Gilbert and Sullivan: Gender, Genre, Parody|location=New York|publisher=Columbia University Press|isbn=978-0-231-14804-7}}
* {{cite book | last=Wolfson | first=John | title=Final Curtain – The Last Gilbert and Sullivan Operas | publisher=Chappell & Company Limited | location=London | year=1976}}
* {{cite book | last=Wolfson | first=John | title=Final Curtain – The Last Gilbert and Sullivan Operas | publisher=Chappell & Company Limited | location=London | year=1976}}


Latest revision as of 14:53, 7 July 2024

1881 Programme for Patience

Savoy opera was a style of comic opera that developed in Victorian England in the late 19th century, with W. S. Gilbert and Arthur Sullivan as the original and most successful practitioners. The name is derived from the Savoy Theatre, which impresario Richard D'Oyly Carte built to house the Gilbert and Sullivan pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve a foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern musical.

Gilbert, Sullivan, Carte and other Victorian era British composers, librettists and producers,[1] as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of the often risqué continental European operettas that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", "comic operas", or both.[2] However, the Penguin Opera Guides and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas.[3]

Gilbert and Sullivan's early operas played at other London theatres, and Patience (1881) was the first opera to appear at the Savoy Theatre, and thus, in a strict sense, the first true "Savoy Opera", although the term "Savoy Opera" has, for over a century, referred to all thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte.

Savoy Theatre, c. 1881

Other definitions

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During the years when the Gilbert and Sullivan ("G&S") operas were being written, Richard D'Oyly Carte also produced, at the Savoy Theatre, operas by other composer–librettist teams, either as curtain raisers to the G&S pieces, or to fill the theatre when no G&S piece was available.[4] To his contemporaries, the term "Savoy Opera" referred to any opera that appeared at that theatre, regardless of who wrote it.

Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the Savoy Theatre from the date it opened (10 October 1881) until The Gondoliers closed on 20 June 1891. Over the next decade, there were only two new G&S pieces (Utopia Limited and The Grand Duke), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D'Oyly Carte died on 3 April 1901. If the nexus of Carte and the Savoy Theatre is used to define "Savoy Opera," then the last new Savoy Opera was The Rose of Persia (music by Sullivan, libretto by Basil Hood), which ran from 28 November 1899 – 28 June 1900.

Gilbert, Workman and German at a rehearsal

After Carte's death, his wife Helen Carte assumed management of the theatre. In 1901, she produced Sullivan's last opera, The Emerald Isle (finished after Sullivan's death by Edward German), and during the run of that opera, she hired William Greet as manager of the theatre. Later that year, she leased the theatre to Greet, who then produced Ib and Little Christina, The Willow Pattern, a revival of Iolanthe, Merrie England (1902) and A Princess of Kensington (1903), each with a cast made up largely of Carte's Savoy company. Cyril Rollins and R. John Witts adopt A Princess of Kensington as the last of the Savoy Operas. After A Princess of Kensington closed in May 1903, Mrs. Carte leased the theatre to unrelated parties until late 1906, when she produced the first of her two seasons of G&S revivals in repertory at the Savoy, with Gilbert returning to direct.

In March 1909, Charles H. Workman leased the theatre, producing three new pieces, including one by Gilbert, Fallen Fairies (music by Edward German). The last of these Workman-produced works came in early 1910, Two Merry Monarchs, by Arthur Anderson, George Levy, and Hartley Carrick, with music by Orlando Morgan. The contemporary press referred to these works as "Savoy Operas",[5] and S. J. Adair Fitz-Gerald regarded Workman's pieces as the last Savoy Operas.[6]

Fitz-Gerald wrote his book, The Story of the Savoy Opera, in 1924, when these other pieces were still within living memory. But over the ensuing decades, the works produced at the Savoy by composers and librettists other than Gilbert and Sullivan were forgotten or infrequently revived. The term "Savoy Opera" came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan – the 1871 opera Thespis – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D'Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Nevertheless, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith. The Oxford English Dictionary defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre".[7]

Complete list

[edit]

The following table shows all of the full-length operas that could be considered "Savoy Operas" under any of the definitions mentioned above. Only first runs are shown. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the next table below.

Title Librettist(s) Composer(s) Theatre Opening Date Closing
Date		 Perf's.
Thespis W. S. Gilbert Arthur Sullivan Gaiety 26 December 1871 8 March 1872 64
Trial by Jury W. S. Gilbert Arthur Sullivan Royalty 25 March 1875 18 December 1875 131
The Sorcerer W. S. Gilbert Arthur Sullivan Opera Comique 17 November 1877 24 May 1878 178
H.M.S. Pinafore W. S. Gilbert Arthur Sullivan Opera Comique 25 May 1878 20 February 1880 571
The Pirates of Penzance W. S. Gilbert Arthur Sullivan Bijou, Paignton 30 December 1879 30 December 1879 1
Fifth Avenue, NY 31 December 1879 5 June 1880 100
Opera Comique 3 April 1880 2 April 1881 363
Patience W. S. Gilbert Arthur Sullivan Opera Comique 23 April 1881 8 October 1881 170
Savoy 10 October 1881 22 November 1882 408
Iolanthe W. S. Gilbert Arthur Sullivan Savoy 25 November 1882 1 January 1884 398
Princess Ida W. S. Gilbert Arthur Sullivan Savoy 5 January 1884 9 October 1884 246
The Mikado W. S. Gilbert Arthur Sullivan Savoy 14 March 1885 19 January 1887 672
Ruddygore W. S. Gilbert Arthur Sullivan Savoy 22 January 1887 5 November 1887 288
The Yeomen of the Guard W. S. Gilbert Arthur Sullivan Savoy 3 October 1888 30 November 1889 423
The Gondoliers W. S. Gilbert Arthur Sullivan Savoy 7 December 1889 20 June 1891 554
The Nautch Girl George Dance & Frank Desprez Edward Solomon Savoy 30 June 1891 16 January 1892 200
The Vicar of Bray Sydney Grundy Edward Solomon Savoy 28 January 1892 18 June 1892 143
Haddon Hall Sydney Grundy Arthur Sullivan Savoy 24 September 1892 15 April 1893 204
Jane Annie J. M. Barrie & Arthur Conan Doyle Ernest Ford Savoy 13 May 1893 1 July 1893 50
Utopia Limited W. S. Gilbert Arthur Sullivan Savoy 7 October 1893 9 June 1894 245
Mirette Harry Greenbank & Fred E. Weatherly (revised by Adrian Ross) André Messager Savoy 3 July 1894 11 August 1894 41
6 October 1894 6 December 1894 61
The Chieftain F. C. Burnand Arthur Sullivan Savoy 12 December 1894 16 March 1895 97
The Grand Duke W. S. Gilbert Arthur Sullivan Savoy 7 March 1896 10 July 1896 123
His Majesty F. C. Burnand, R. C. Lehmann, & Adrian Ross Alexander Mackenzie Savoy 20 February 1897 24 April 1897 61
The Grand Duchess of Gerolstein[n 1] Charles H. Brookfield & Adrian Ross Jacques Offenbach Savoy 4 December 1897 12 March 1898 104
The Beauty Stone A. W. Pinero & J. Comyns Carr Arthur Sullivan Savoy 28 May 1898 16 July 1898 50
The Lucky Star Charles H. Brookfield, Adrian Ross, & Aubrey Hopwood Ivan Caryll Savoy 7 January 1899 31 May 1899 143
The Rose of Persia Basil Hood Arthur Sullivan Savoy 29 November 1899 28 June 1900 213
The Emerald Isle Basil Hood Arthur Sullivan & Edward German Savoy 27 April 1901 9 November 1901 205
Ib and Little Christina Basil Hood Franco Leoni Savoy 14 November 1901 29 November 1901 16[9]
The Willow Pattern Basil Hood Cecil Cook
Merrie England Basil Hood Edward German Savoy 2 April 1902 30 July 1902 120
24 November 1902 17 January 1903 56
A Princess of Kensington Basil Hood Edward German Savoy 22 January 1903 16 May 1903 115
The Mountaineers Guy Eden Reginald Somerville Savoy 29 September 1909 27 November 1909 61
Fallen Fairies W. S. Gilbert Edward German Savoy 15 December 1909 29 January 1910 51
Two Merry Monarchs Arthur Anderson, George Levy, & Hartley Carrick Orlando Morgan Savoy 10 March 1910 23 April 1910 43

Companion pieces

[edit]

The fashion in the late Victorian era and Edwardian era was to present long evenings in the theatre, and so full-length pieces were often presented together with companion pieces.[10] During the original runs of the Savoy Operas, each full-length work was normally accompanied by one or two short companion pieces. A piece that began the performance was called a curtain raiser, and one that ended the performance was called an afterpiece. W. J. MacQueen-Pope commented, concerning the curtain raisers:

This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.[11]

The following table lists the known companion pieces that appeared at the Opera Comique or the Savoy Theatre during the original runs and principal revivals of the Savoy Operas through 1909. There may have been more such pieces that have not yet been identified. In a number of cases, the exact opening and closing dates are not known. Date ranges overlap, since it was common to rotate two or more companion pieces at performances during the same period to be played with the main piece.[4]

Many of these pieces also played elsewhere (and often on tour by D'Oyly Carte touring companies). Only the runs at the Opera Comique and the Savoy are shown here.[4]

Title Librettist(s) Composer(s) Theatre Opening Date Closing
Date		 Played With
Dora's Dream Arthur Cecil Alfred Cellier Opera Comique 17 November 1877 7 February 1878* The Sorcerer
The Spectre Knight James Albery Alfred Cellier Opera Comique 9 February 1878 23 March 1878 The Sorcerer
28 May 1878 10 August 1878 Pinafore
Trial by Jury W. S. Gilbert Arthur Sullivan Opera Comique & Savoy 23 March 1878 24 May 1878 The Sorcerer
11 October 1884 12 March 1885
22 September 1898 31 December 1898
6 June 1899 25 November 1899 Pinafore
Beauties on the Beach George Grossmith George Grossmith Opera Comique 25 May 1878 5 August 1878 Pinafore
14 October 1878 5 December 1878*
A Silver Wedding George Grossmith George Grossmith Opera Comique part of 1878 Pinafore
Five Hamlets George Grossmith George Grossmith Opera Comique ? 1878 12 October 1878 Pinafore
Cups and Saucers George Grossmith George Grossmith Opera Comique 5 August 1878* 20 February 1880 Pinafore
After All! Frank Desprez Alfred Cellier Opera Comique 16 December 1878* 20 February 1880 Cups and Saucers
? Feb. 1880 20 March 1880 Children's Pinafore
Savoy 23 November 1895 4 March 1896 Mikado & Grand Duke
4 April 1896 8 August 1896
7 May 1897 16 June 1897 Yeomen
In the Sulks Frank Desprez Alfred Cellier Opera Comique 21 February 1880 ? Pirates
21 February 1880 20 March 1880 Children's Pinafore
3 April 1880 2 April 1881 Pirates
23 April 1881* 2 May 1881 Patience
Savoy 11 October 1881 14 October 1881
Uncle Samuel Arthur Law George Grossmith Opera Comique 3 May 1881 8 October 1881 Patience
Mock Turtles Frank Desprez Eaton Faning Savoy 11 October 1881 22 November 1882 Patience
25 November 1882 30 March 1883 Iolanthe
A Private Wire Frank Desprez Percy Reeve Savoy 31Mar. 1883 1 January 1884 Iolanthe
The Carp Frank Desprez & Arnold Felix Alfred Cellier Savoy 13 February 1886 19 January 1887 Mikado
21 February 1887 5 November 1887 Ruddigore
Mrs. Jarramie's Genie Frank Desprez Alfred Cellier & François Cellier Savoy 14 February 1888 ? Nov. 1889 Pinafore, Pirates, Mikado, Yeomen
Captain Billy Harry Greenbank François Cellier Savoy 24 September 1891 16 January 1892 Nautch Girl
1 February 1892 18 June 1892 Vicar of Bray
Mr. Jericho Harry Greenbank Ernest Ford Savoy 18 March 1893 15 April 1893 Haddon Hall
3 June 1893 1 July 1893 Jane Annie
Quite an Adventure Frank Desprez Edward Solomon Savoy 15 December 1894 29 December 1894 The Chieftain
Cox & Box F. C. Burnand Arthur Sullivan Savoy 31 December 1894 16 March 1895 The Chieftain
Weather or No Adrian Ross & William Beach Bertram Luard-Selby Savoy 10 August 1896 17 February 1897 The Mikado
2 March 1897 24 April 1897 His Majesty
Old Sarah Harry Greenbank François Cellier Savoy 17 June 1897 31 July 1897 Yeomen
16 August 1897 20 November 1897
10 December 1897 12 March 1898 The Grand Duchess of Gerolstein
22 March 1898* 21 May 1898 Gondoliers
Pretty Polly Basil Hood François Cellier Savoy 19 May 1900 28 June 1900 The Rose of Persia
8 December 1900 20 April 1901 Patience
The Outpost Albert O'Donnell Bartholeyns Hamilton Clarke Savoy 2 July 1900 3 November 1900 Pirates
8 November 1900* 7 December 1900 Patience
The Willow Pattern Basil Hood Cecil Cook Savoy 14 November 1901 29 November 1901 Ib and Little Christina
(revised version) 9 December 1901 29 March 1902 Iolanthe
A Welsh Sunset Frederick Fenn Philip Michael Faraday Savoy 15 July 1908 17 October 1908 Pinafore & Pirates
2 December 1908 24 February 1909

*Indicates an approximate date.

Notes

[edit]
  1. ^ The production was variously billed as The Grand Duchess of Gerolstein or just The Grand Duchess.[8]

References

[edit]
  1. ^ Such as German Reeds, Frederic Clay, Edward Solomon and F. C. Burnand
  2. ^ See, e. g., Crowther, Stedman, Bailey, Bradley, Ainger and Jacobs. Gilbert & Sullivan described 13 of their 14 collaborations as "operas" or "operatic":
    • Thespis: an "Operatic Extravaganza"
    • The Sorcerer: a "Modern Comic Opera"
    • H.M.S. Pinafore: a "Nautical Comic Opera"
    • The Pirates of Penzance: a "Melo-Dramatic Opera"
    • Patience: an "Aesthetic Opera"
    • Iolanthe: a "Fairy Opera"
    • Princess Ida: "A respectful Operatic Perversion of Tennyson's Princess"
    • The Mikado: a "Japanese Opera"
    • Ruddygore: a "Supernatural Opera"
    • The Yeomen of the Guard: an "Opera"
    • The Gondoliers: a "Comic Opera"
    • Utopia, Limited, a "Comic Opera"
    • The Grand Duke: a "Comic Opera"
    They called the 14th, Trial by Jury, a "Dramatic Cantata".
  3. ^ The New Penguin Opera Guide, ed. Amanda Holden, Penguin Books, London 2001 and The Penguin Concise Guide to Opera, ed. Amanda Holden, Penguin Books, London 2005 both state: "Operetta is the internationally recognized term for the type of work on which William Schwenck Gilbert and Sullivan collaborated under Richard D'Oyly Carte's management (1875–96), but they themselves used the words 'comic opera'". See also the Oxford Dictionary of Opera, ed. John Warrack and Ewan West, Oxford University Press 1992 and The New Grove Dictionary of Opera, 4 vols, ed. Stanley Sadie, Macmillan, New York 1992
  4. ^ a b c Walters, Michael and George Low. "Curtain Raisers", The Gilbert and Sullivan Archive, 16 August 2011, retrieved 27 February 2017
  5. ^ See, e.g., The Manchester Guardian, 17 September 1910, p. 1, advertising The Mountaineers.
  6. ^ See also Farrell, passim
  7. ^ "Savoy", Oxford English Dictionary", Oxford University Press, June 2017, retrieved 9 December 2017 (subscription required)
  8. ^ "Savoy", The Times, 1 December 1897, p. 8, and "Savoy" (column 5) and "Savoy Theatre" (column 6), The Times 6 December 1897, p. 10
  9. ^ The Willow Pattern continued to run after Ib and Little Christina closed, as a companion piece to Iolanthe, for an original run of 110 performances.
  10. ^ Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008
  11. ^ MacQueen-Pope, Walter James. Carriages at Eleven (1947), London: Robert Hale and Co., p. 23

Sources

[edit]
  • Farrell, Scott (2009). The C. H. Workman Productions: A Centenary Review of the Final Savoy Operas. Scott Farrell.
  • Fitz-Gerald, S. J. Adair (1924). The Story of the Savoy Opera. London: Stanley Paul & Co.
  • Rollins, Cyril; R. John Witts (1962). The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961. London: Michael Joseph. OCLC 504581419.

Further reading

[edit]
  • Ainger, Michael (2002). Gilbert and Sullivan, a Dual Biography. Oxford: Oxford University Press.
  • Bradley, Ian (1996). The Complete Annotated Gilbert and Sullivan. Oxford, England: Oxford University Press.
  • Crowther, Andrew (2000). Contradiction Contradicted – The Plays of W. S. Gilbert. Associated University Presses. ISBN 0-8386-3839-2.
  • Gilbert, W. S. (1994). The Savoy Operas. Hertfordshire, England: Wordsworth Editions Ltd. ISBN 1-85326-313-3.
  • Jacobs, Arthur (1992). Arthur Sullivan – A Victorian Musician (Second ed.). Portland, OR: Amadeus Press.
  • O'Brien, Christopher (2015). Savoy Curtain-Raisers, Musica Britannica series. London: Stainer & Bell.
  • Smith, Geoffrey (1983). The Savoy Operas. London: Robert Hale Limited.
  • Stedman, Jane W. (1996). W. S. Gilbert, A Classic Victorian & His Theatre. Oxford University Press. ISBN 0-19-816174-3.
  • Williams, Carolyn (2010). Gilbert and Sullivan: Gender, Genre, Parody. New York: Columbia University Press. ISBN 978-0-231-14804-7.
  • Wolfson, John (1976). Final Curtain – The Last Gilbert and Sullivan Operas. London: Chappell & Company Limited.
[edit]
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