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TheCambridgeCompaniontoGilbertandSullivan Memorablemelodiesandfancifulworlds–thecomicoperasof GilbertandSullivanremainaspopulartodayaswhentheywerefirst performed.ThisCompanionprovidesatimelyguidetothehistory anddevelopmentofthecollaborationbetweenthetwomen,including afreshexaminationofthemanymythsandhalf-truthssurrounding theirrelationship.Writtenbyaninternationalteamofspecialists,the volumefeaturesapersonalaccountfromfilmdirectorMikeLeighon hisconnectionwiththeSavoyoperasandthecreationofhisfilm Topsy-Turvy.Startingwiththeearlyhistoryoftheoperaticstagein Britain,theCompanionplacestheoperasintheirtheatricalandmusical context,investigatingtheamateurperformingtradition,providingnew perspectivesonthefamouspattersongsandanalysingtheirdramatic andoperaticpotential.Perfectforenthusiasts,performersandstudents ofGilbertandSullivan’senduringwork,thebookexaminestheirlegacy andlooksforwardtothefuture. DavidEdenisaformerChairmanoftheSirArthurSullivanSociety andiscurrentlyeditorofitsMagazine. MeinhardSarembaisafreelanceauthor,translatorandbroadcaster. CambridgeCompanionstoMusic Topics TheCambridgeCompaniontoBallet EditedbyMarionKant TheCambridgeCompaniontoBluesandGospelMusic EditedbyAllanMoore TheCambridgeCompaniontotheConcerto EditedbySimonP.Keefe TheCambridgeCompaniontoConducting EditedbyJoseÁntonioBowen TheCambridgeCompaniontoEighteenth-CenturyMusic EditedbyAnthonyR.DelDonnaandPierpaoloPolzonetti TheCambridgeCompaniontoElectronicMusic EditedbyNickCollinsandJulioD’Escrivań TheCambridgeCompaniontoGrandOpera EditedbyDavidCharlton TheCambridgeCompaniontoJazz EditedbyMervynCookeandDavidHorn TheCambridgeCompaniontotheLied EditedbyJamesParsons TheCambridgeCompaniontoMedievalMusic EditedbyMarkEverist TheCambridgeCompaniontotheMusical,secondedition EditedbyWilliamEverettandPaulLaird TheCambridgeCompaniontotheOrchestra EditedbyColinLawson TheCambridgeCompaniontoPopandRock EditedbySimonFrith,WillStrawandJohnStreet TheCambridgeCompaniontoRecordedMusic EditedbyEricClarke,NicholasCook,DanielLeech-WilkinsonandJohnRink TheCambridgeCompaniontotheStringQuartet EditedbyRobinStowell TheCambridgeCompaniontoTwentieth-CenturyOpera EditedbyMervynCooke Composers TheCambridgeCompaniontoBach EditedbyJohnButt TheCambridgeCompaniontoBarto´k EditedbyAmandaBayley TheCambridgeCompaniontotheBeatles EditedbyKennethWomack TheCambridgeCompaniontoBeethoven EditedbyGlennStanley TheCambridgeCompaniontoBerg EditedbyAnthonyPople TheCambridgeCompaniontoBerlioz EditedbyPeterBloom TheCambridgeCompaniontoBrahms EditedbyMichaelMusgrave TheCambridgeCompaniontoBenjaminBritten EditedbyMervynCooke TheCambridgeCompaniontoBruckner EditedbyJohnWilliamson TheCambridgeCompaniontoJohnCage EditedbyDavidNicholls TheCambridgeCompaniontoChopin EditedbyJimSamson TheCambridgeCompaniontoDebussy EditedbySimonTrezise TheCambridgeCompaniontoElgar EditedbyDanielM.GrimleyandJulianRushton TheCambridgeCompaniontoGilbertandSullivan EditedbyDavidEdenandMeinhardSaremba TheCambridgeCompaniontoHandel EditedbyDonaldBurrows TheCambridgeCompaniontoHaydn EditedbyCarylClark TheCambridgeCompaniontoLiszt EditedbyKennethHamilton TheCambridgeCompaniontoMahler EditedbyJeremyBarham TheCambridgeCompaniontoMendelssohn EditedbyPeterMercer-Taylor TheCambridgeCompaniontoMonteverdi EditedbyJohnWhenhamandRichardWistreich TheCambridgeCompaniontoMozart EditedbySimonP.Keefe TheCambridgeCompaniontoRavel EditedbyDeborahMawer TheCambridgeCompaniontoRossini EditedbyEmanueleSenici TheCambridgeCompaniontoSchubert EditedbyChristopherGibbs TheCambridgeCompaniontoSchumann EditedbyBeatePerrey TheCambridgeCompaniontoShostakovich EditedbyPaulineFaircloughandDavidFanning TheCambridgeCompaniontoSibelius EditedbyDanielM.Grimley TheCambridgeCompaniontoVerdi EditedbyScottL.Balthazar Instruments TheCambridgeCompaniontoBrassInstruments EditedbyTrevorHerbertandJohnWallace TheCambridgeCompaniontotheCello EditedbyRobinStowell TheCambridgeCompaniontotheClarinet EditedbyColinLawson TheCambridgeCompaniontotheGuitar EditedbyVictorCoelho TheCambridgeCompaniontotheOrgan EditedbyNicholasThistlethwaiteandGeoffreyWebber TheCambridgeCompaniontothePiano EditedbyDavidRowland TheCambridgeCompaniontotheRecorder EditedbyJohnMansfieldThomson TheCambridgeCompaniontotheSaxophone EditedbyRichardIngham TheCambridgeCompaniontoSinging EditedbyJohnPotter TheCambridgeCompaniontotheViolin EditedbyRobinStowell The Cambridge Companion to GILBERT AND SULLIVAN ............ edited by DavidEdenandMeinhardSaremba cambridgeuniversitypress Cambridge,NewYork,Melbourne,Madrid,CapeTown,Singapore,SaõPaulo,Delhi CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521716598 (cid:2)c CambridgeUniversityPress2009 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithout thewrittenpermissionofCambridgeUniversityPress. Firstpublished2009 PrintedintheUnitedKingdomattheUniversityPress,Cambridge AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata TheCambridgeCompaniontoGilbertandSullivan/editedbyDavidEden,MeinhardSaremba. p. cm. Includesbibliographicalreferencesandindex. ISBN978-0-521-88849-3 1.Sullivan,Arthur,Sir,1842–1900.Operas. 2.Gilbert,W.S.(WilliamSchwenck),1836–1911– Criticismandinterpretation. I.Eden,David,1942– II.Saremba,Meinhard,1960– III.Title. ML410.S95C35 2009 782.1(cid:3)20922–dc22 2009022104 ISBN978-0-521-88849-3hardback ISBN978-0-521-71659-8paperback CambridgeUniversityPresshasnoresponsibilityforthepersistenceor accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto inthispublication,anddoesnotguaranteethatanycontentonsuch websitesis,orwillremain,accurateorappropriate. Contents Listofillustrations [pagevii] Notesoncontributors [ix] Preface [xiii] • PartI Background 1 Savoy opera and its discontents: the theatrical background to a quarrel DavidEden [3] 2 Identity crisis and the search for English opera: the Savoy Theatre in the 1890s WilliamParry [22] 3 ResituatingGilbertandSullivan:themusicalandaestheticcontextBenedict Taylor [36] 4 ‘Wesingasoneindividual’?Popularmisconceptionsof‘GilbertandSullivan’ MeinhardSaremba [50] • PartII Focus 5 The operasincontext:stylisticelements–theSavoyandbeyond Richard Silverman [69] 6 Thelibrettosincontext:Gilbert’s‘fablesinsong’ HorstDo¨lvers [85] 7 ‘This particularlyrapid,unintelligiblepatter’:patter songs and the word– musicrelationship LauraKassonFiss [98] 8 Standingstillandmovingforward:TheMikado,HaddonHallandconcepts oftimeintheSavoyoperas MichaelBeckerman [109] 9 MusicalcontextsI:motivesandmethodsinSullivan’sallusions JamesBrooks Kuykendall [122] 10 MusicalcontextsII:characterisationandemotionintheSavoyoperas MartinT.Yates [136] • PartIII Reception 11 Topsy-Turvy:apersonaljourney MikeLeigh [153] 12 Amateur tenors and choruses in public: the amateur scene Ian Bradley [177] 13 Championsandaficionados:amateurandlistenerexperiencesoftheSavoy operasinperformance StephaniePitts [190] 14 ‘How great thy charm, thy sway how excellent!’ Tracing Gilbert and [v] Sullivan’slegacyintheAmericanmusical RaymondKnapp [201] vi Contents 15 ‘SeehowtheFatestheirgiftsallot’:thereceptionofproductionsandtrans- lationsincontinentalEurope JanaPolianovskaia [216] • PartIV Intothetwenty-firstcentury 16 Adventuresinmusicaldetection:scholarship,editions,productionsandthe futureoftheSavoyoperas DavidRussellHulme [231] Appendix1:Whowrotetheovertures? [243] Appendix2:StageandchoralworksbyArthurSullivanand W.S.Gilbert [244] Appendix3:ModerneditionsofworksbyArthurSullivanand W.S.Gilbert [245] Appendix4:Sullivan’sarchetypesofEnglishopera [247] Notes [248] Bibliographyandfurtherreading [257] Index [270] Illustrations Frontispiece A: Arthur Sullivan 1842–1900. Photo courtesy of Sir Arthur SullivanSociety. Frontispiece B: W. S. Gilbert 1836–1911. Photo courtesy of Sir Arthur SullivanSociety. 1 TheTowerFurnishingCompany’sadvertisement.KensingtonandHammer- smithReporter,January1888. [page16] 2 Rebecca defies the Templar in Sullivan’s Ivanhoe. Unidentified contempo- raryperiodical. [18] 3 Mechanised characters in Gilbert’s Mountebanks: Hamlet and Ophelia as clockworkdummies.Unidentifiedcontemporaryperiodical. [21] 4 Twogreatmenfailtoconvince:JaneAnniebyJ.M.BarrieandArthurConan Doyle.TheQueen,20May1893. [25] 5 In Re His Majesty: Sir Arthur to Sir Alexander – ‘Not such child’s play as youthought,isit,Mackenzie?’TheEntr’acte,6March1897. [30] 6 Sullivan the musician: conducting the Leeds Festival. Illustrated London News(23October1886),p.421. [46] 7 JamesGillray:TheMarchontheBank1787.Privatecollection. [54] 8 AcontemporarytakeonRuddygore:Moonshine,12February1887. [56] 9 The Oak and the Reed: illustration by Thomas Bewick to Aesop’s Fables, 1818. [93] 10 Charles Mathews as Mephistopheles in F. C. Burnand’s Faust and Mar- guerite:caricaturebyW.S.Gilbert.Fun,23July1864. [100] 11 Statelyhomeopera:HaddonHall.IllustratedSportingandDramaticNews, 8October1892. [111] 12 RosemaryJoshua,AnneCollinsandAnne-MarieOwensintheENOpro- ductionofPrincessIda(1992).CourtesyofEnglishNationalOpera.Photo credit:MichaelLePoerTrench. [130] 13 TheFairieshavethestagetothemselvesinIolanthe.CourtesyofCarlRosa Opera2008.Photocredit:RalphRapley. [144] 14 JimBroadbentandAllanCordunerasGilbertandSullivaninTopsy-Turvy, directedbyMikeLeigh,1999.CourtesyofThinManFilms.Photographer SimonMein(cid:2)c OctoberFilms,OctoberFilms/Photofest. [158] 15 Topsy-Turvy (directed by Mike Leigh, 1999): first night of The Mikado. Centralfigures,fromlefttoright:AllanCorduner(asSirArthurSullivan), Timothy Spall (as Richard Temple/The Mikado) and Jim Broadbent (as W. S. Gilbert). Courtesy of Thin Man Films. Photographer Simon Mein [vii] (cid:2)c OctoberFilms,OctoberFilms/Photofest. [175]