279:
581:
600:
listen ("Come walk up"). Just as
Bunthorne is handing the bag to the unattractive Jane, ready for the worst, Patience interrupts the proceedings and proposes to unselfishly sacrifice herself by loving the poet ("True Love must single-hearted be"). A delighted Bunthorne accepts immediately, and his followers, their idol lost, return to the Dragoons to whom they are engaged ("I hear the soft note of the echoing voice"). All seems resolved until Grosvenor enters and the ladies, finding him poetic, aesthetic, and far more attractive than Bunthorne, become his partisans instead ("Oh, list while we a love confess"), much to the dismay of the Dragoons, Patience, Bunthorne and especially Grosvenor himself.
569:, appear ("The soldiers of our Queen"), led by Colonel Calverley ("If you Want a Receipt for that Popular Mystery"), Major Murgatroyd, and the ordinary but immensely rich Lieutenant the Duke of Dunstable. They arrive ready to propose marriage, only to discover their intendeds fawning over Bunthorne, who is in the throes of poetical composition, pretending to ignore the attention of the ladies thronging around him ("In a doleful train"). Bunthorne reads his poem and departs, while the officers are coldly rebuffed and mocked by the ladies, who turn up their noses at the sight of their red and yellow uniforms. The Dragoons, reeling from the insult, depart ("When I first put this uniform on").
577:("Long years ago"). Lady Angela rhapsodises upon love as the one truly unselfish pursuit in the world. Impressed by her eloquence, Patience promises to fall in love at the earliest opportunity. Serendipitously, Archibald Grosvenor arrives; he is another aesthetic poet who turns out to be Patience's childhood love. He has grown to be the infallible, widely loved "Archibald the All-Right" ("Prithee, pretty maiden"). The two declare themselves in love but are brought up short by the realisation that as Grosvenor is a perfect being, for Patience to love him would be a selfish act, and therefore not true love; thus, they must part.
621:
half-holiday from their cloying attentions. Bunthorne is furious when
Patience confesses her affection for Grosvenor; she laments the bitter lesson she has learned about love ("Love is a plaintive song"). Bunthorne longs to regain his former admirers' admiration; Jane offers her assistance ("So go to him, and say to him"). The Dragoon officers attempt to earn their partners' love by appearing to convert to the principles of aestheticism ("It's clear that mediaeval art"). Angela and Saphir are favourably impressed and accept Calverly and Murgatroyd in matrimony; Dunstable graciously bows out ("If Saphir I choose to marry").
552:
132:
1920:
625:
an ordinary man; the ladies follow him into ordinariness, becoming "matter-of-fact young girls." Patience realises that
Grosvenor has lost his perfection, and so it will no longer be selfish for her to marry him, which she undertakes to do without delay. The ladies, following suit, return to their old fiancés among the Dragoons. In the spirit of fairness, Dunstable chooses the "plain" Lady Jane as his bride for her very lack of appeal. Bunthorne is left with the "vegetable love" that he had (falsely) claimed to desire. Thus, "Nobody Bunthorne's bride."
637:
401:
of aesthetic poet rivals proved to be a fertile subject for topsy-turvy treatment. He both mocks and joins in
Buchanan's criticism of what the latter calls the poetic "affectations" of the "fleshly school" – their use of archaic terminology, archaic rhymes, the refrain, and especially their "habit of accenting the last syllable in words which in ordinary speech are accented on the penultimate." All of these poetic devices or "mediaevalism's affectations", as Bunthorne calls them, are parodied in
430:
739:
815:
3572:
371:
703:
914:. Its first London revival was in 1900, making it the last of the revivals for which all three partners (Gilbert, Sullivan, and D'Oyly Carte) were alive. At that time, Gilbert admitted some doubts as to whether the æsthetic subject would still be appreciated, years after the fad had died out. Gilbert wrote to Sullivan after the premiere of this revival (which the composer was too ill to attend), "The old opera woke up splendidly."
890:
3200:
3582:
40:
663:
683:
2847:
2348:"Violoncello" is specified in the original libretto, though in the original production a double bass was used (see Alice Barnett photograph), an instrument specified in the licence copy and first American libretto of the opera. Subsequent productions have varied in their choice of cello, double bass or a similar prop. See
693:
624:
Bunthorne threatens
Grosvenor with a dire curse unless he undertakes to become perfectly commonplace. Intimidated, and also pleased at the excuse to escape the celebrity caused by his "fatal beauty", Grosvenor agrees ("When I go out of door"). This plot backfires, however, when Grosvenor reappears as
420:
consumes as much oxygen as many people, and causes great heat beside. The incandescent lamps consume no oxygen, and cause no perceptible heat." When the electrical system was ready for full operation, in
December 1881, Carte stepped on stage to demonstrate the safety of the new technology by breaking
400:
Lady Jane advises
Bunthorne to tell Grosvenor: "Your style is much too sanctified – your cut is too canonical!" Later, Grosvenor agrees to change his lifestyle by saying, "I do it on compulsion!" – the very words used by the Reverend Hopley Porter in the Bab Ballad. Gilbert's selection
599:
himself off among his lady followers ("Let the merry cymbals sound"), the proceeds going to charity. The
Dragoons interrupt the proceedings, and, led by the Duke, attempt to reason with the ladies ("Your maiden hearts, ah, do not steel"), but the ladies are too busy clamouring for raffle tickets to
564:
In front of Castle
Bunthorne, a group of "lovesick maidens" are all in love with the aesthetic poet Bunthorne ("Twenty lovesick maidens we"). Lady Jane, the oldest and plainest of them, announces that Bunthorne, far from returning their affections, has his heart set on the simple milkmaid Patience.
246:
The two poets in the opera are given to reciting their own verses aloud, principally to the admiring chorus of rapturous maidens. The style of poetry
Bunthorne declaims strongly contrasts with Grosvenor's. The former's, emphatic and obscure, bears a marked resemblance to Swinburne's poetry in its
576:
is a sham and mocks the movement's pretensions ("If you're anxious for to shine"). Seeing Patience, he reveals that, like her, he does not like poetry, but she tells him that she cannot love him. Later, Lady Angela, one of Bunthorne's admirers, explores with Patience the latter's childhood crush
620:
Lady Jane, accompanying herself on the cello, laments the passing of the years and expresses hope that Bunthorne will "secure" her before it is too late ("Silvered is the raven hair"). Meanwhile, Grosvenor wearily entertains the ladies ("A magnet hung in a hardware shop") and begs to be given a
416:, the first public building in the world lit entirely by electric light. Carte explained why he had introduced electric light: "The greatest drawbacks to the enjoyment of the theatrical performances are, undoubtedly, the foul air and heat which pervade all theatres. As everyone knows, each
702:
610:
3203:
662:
653:
682:
921:
played – either by itself, or in repertory – continuously from summer 1881 to 1885, then again in 1888. It rejoined the touring repertory in 1892 and was included in every season until 1955–56. New costumes were designed in 1907 by
704:
806:
This was originally followed by a song for the Duke, "Though men of rank may useless seem." The orchestration survives in Sullivan's autograph score, but without a vocal line. There have been several attempts at a reconstruction, including one by
673:
366:
opened, Carte sent Wilde on a yearlong US lecture tour, with his knee breeches, long hair and other idiosyncratic styling, to discuss poetry and the English aesthetic movement, intending to help popularise the show's American touring productions.
259:. Gilbert scholar Andrew Crowther comments, "Bunthorne was the creature of Gilbert's brain, not just a caricature of particular Aesthetes, but an original character in his own right." The makeup and costume adopted by the first Bunthorne,
173:
values over moral or social themes in literature, fine art, the decorative arts, and interior design. Called "Art for Art's Sake", the movement valued its ideals of beauty above any pragmatic concerns. Although the output of poets,
1927:
Of the recordings of this opera, the 1961 D'Oyly Carte Opera Company recording (with complete dialogue) has been the best received. Two videos, Brent Walker (1982) and Australian Opera (1995), are both based on the respected
664:
684:
565:
Patience appears and confesses that she has never loved anyone; she is thankful that love has not turned her miserable as it has them ("I cannot tell what this love may be"). Soon, the ladies' old sweethearts, the 35th
178:
and designers was prolific, some argued that the movement's art, poetry and fashion was empty and self-indulgent. That the movement was so popular and also so easy to ridicule as a meaningless fad helped make
381:
Although a satire of the aesthetic movement is dated today, fads and hero-worship are evergreen, and "Gilbert’s pen was rarely sharper than when he invented Reginald Bunthorne". Gilbert originally conceived
938:
debuted in 1957. The opera returned to its regular place in the repertory, apart from a break in 1962–63. Late in the company's history, it toured a reduced set of operas to reduce costs.
877:
contain many topical references to persons and events of public interest in 1881. In particular, the Colonel's song, Act I, item 3a above, is almost entirely composed of such references. The
75:
of the 1870s and '80s in England and, more broadly, on fads, superficiality, vanity, hypocrisy and pretentiousness; it also satirises romantic love, rural simplicity and military bluster.
1109:
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's 1982 closure:
979:
as Bunthorne. The production was later mounted in Australia and was preserved on video as part of the Brent Walker series. In 1984, ENO also took the production on tour to the
2196:
Browne, p. 93, identifies Fildes's "first successful paining", "Where are you going to, my pretty maid?"; Browne may have meant the Fildes painting of the milk maid "Betty":
108:
was the sixth operatic collaboration of fourteen between Gilbert and Sullivan. It ran for a total of 578 performances, which was seven more than the authors' earlier work,
386:
as a tale of rivalry between two curates and of the doting ladies who attended upon them. The plot and even some of the dialogue were lifted straight out of Gilbert's
3458:
336:, who were considerably more famous than Wilde in early 1881 before Wilde published his first volume of poetry. Rossetti had been attacked for immorality by
3448:
725:
Overture (includes "Turn, oh turn, in this direction", "So go to him and say to him", and "Oh list while we a love confess"). The Overture was prepared by
390:"The Rival Curates." While writing the libretto, however, Gilbert took note of the criticism he had received for his very mild satire of a clergyman in
2064:
3463:
2643:
2443:
2316:
3236:
3421:
1937:
1936:
television on 27 December 1965, but the recording is believed lost. Several professional productions have been recorded on video by the
3585:
3416:
2269:, including Gilbert's satiric use of the poetic devices criticised in Robert Williams Buchanan's essay "The Fleshly School of Poetry",
3453:
2539:
Temple was replaced in the role on 8 October 1881, the last night at the Opera Comique, by Walter Browne. See the classified ad for
980:
289:
According to Gilbert's biographer Edith Browne, the title character, Patience, was made up and costumed to resemble the subject of a
278:
2414:
3606:
3438:
2049:
396:, and looked about for an alternative pair of rivals. Some remnants of the Bab Ballad version do survive in the final text of
3137:
3052:
3033:
3012:
2989:
2932:
2887:
2868:
2696:
3431:
3174:
362:, was also Wilde's booking manager in 1881 as the poet's popularity took off. In 1882, after the New York production of
3229:
2120:
noted: "By this time the stage is thickly sown all over with a crop of lilies and sunflowers". June 18, 1881, p. 598,
942:
had its final D'Oyly Carte performances in April 1979 and was left out of the company's last three seasons of touring.
405:. For example, accenting the last syllable of "lily" and rhyming it with "die" parodies two of these devices at once.
580:
328:, but this identification is retrospective. According to some authorities, Bunthorne is inspired partly by the poets
3611:
904:
in London, split across two theatres, was the second longest of the Gilbert and Sullivan series, eclipsed only by
781:
4. "In a doleful train two and two we walk" (Angela, Ella, Saphir, Bunthorne, and Chorus of Maidens and Dragoons)
324:
A popular misconception holds that the central character of Bunthorne, a "Fleshly Poet," was intended to satirise
3631:
3616:
3575:
3396:
3222:
1143:
1098:
First Savoy repertory season; played with three other operas. Closing date shown is of the entire season.
358:
suggests that Wilde is a partial model for both Bunthorne and his rival Grosvenor. Carte, the producer of
2249:
2116:
3426:
3112:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
2241:
2228:
957:. In Australia, the opera's first authorised performance was on 26 November 1881 at the Theatre Royal,
949:
in September 1881, six months after the London premiere. One of the "pirated" American productions of
911:
329:
175:
3086:
Jones, John B. (Winter 1965). "In Search of Archibald Grosvenor: A New Look at Gilbert's "Patience"".
1971:
1982 Brent Walker Productions (video) – Ambrosian Opera Chorus, London Symphony Orchestra; Conductor:
2451:
2313:
2034:
1164:
923:
878:
551:
119:
17:
90:
on 10 October 1881, where it was the first theatrical production in the world to be lit entirely by
1409:
337:
318:
2433:, a great Gilbert and Sullivan fan, played the silent role of Mr. Bunthorne's Solicitor in a 1985
3411:
3353:
3311:
3266:
2271:
346:
298:
1961:
1961 D'Oyly Carte (with dialogue) – New Symphony Orchestra of London; Conductor: Isidore Godfrey
3406:
3179:
3070:
1929:
1568:
972:
333:
264:
2846:
2349:
102:, and both fans and performers of Gilbert and Sullivan would come to be known as "Savoyards."
3488:
2642:
Morey is President of the Gilbert and Sullivan Society in London. See also Ffrench, Andrew.
2197:
2090:
990:
The following table shows the history of the D'Oyly Carte productions in Gilbert's lifetime:
169:
of the 1870s and '80s in England, part of the 19th-century European movement that emphasised
131:
3626:
3245:
2434:
976:
220:
95:
1919:
215:
outran Burnand's play. According to Burnand's 1904 memoir, Sullivan's friend the composer
8:
3520:
3062:
1976:
1188:
808:
2507:
2353:
2110:
In fact, many stage works prior to 1881 had satirised the aesthetic craze. A review of
3544:
3496:
3095:
2979:
2899:
2408:
2213:
1965:
1877:
1539:
1461:
1231:
1221:
695:
When I go out of door ... I'm a Waterloo House young man ... After much debate internal
185:
114:, and the second longest run of any work of musical theatre up to that time, after the
2960:
2547:, 8 October 1881, p. 6. Temple remained at the Opera Comique to play King Portico in
2332:
2289:
3133:
3115:
3048:
3029:
3023:
3008:
2985:
2966:
2947:
2928:
2922:
2906:
2883:
2864:
2693:
2554:
2430:
2014:
1997:
1859:
1759:
1754:
1709:
1701:
1049:
946:
931:
726:
437:
194:
3193:
766:
2. "Still brooding on their mad infatuation" (Patience, Saphir, Angela, and Chorus)
3552:
3536:
3074:
2831:
1984:
1995 Australian Opera (video) – Conductor: David Stanhope; Stage Director: John Cox
1882:
1841:
1782:
1777:
1671:
1489:
1456:
1424:
1419:
1414:
1206:
962:
374:
307:
282:
260:
252:
199:
137:
2168:
3621:
3512:
3367:
3304:
3283:
3261:
3153:
2805:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
2771:, The Gilbert and Sullivan Discography, 16 November 2001, retrieved 2 August 2016
2754:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
2720:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
2700:
2447:
2418:
2320:
2044:
2039:
1972:
1956:
1950:
1887:
1815:
1626:
1499:
1342:
1216:
954:
893:
584:
433:
355:
313:
154:
110:
60:
2815:
2677:
2285:
235:
have sometimes updated the setting of the opera to an analogous era such as the
3443:
3374:
3360:
3001:
2798:
2781:
2764:
2747:
2730:
2713:
2684:, The Gilbert and Sullivan Discography, 5 April 2003, retrieved 30 October 2017
2501:
2002:
1932:
production first seen in the 1970s. A D'Oyly Carte production was broadcast on
1854:
1724:
1719:
1357:
1274:
566:
341:
256:
91:
2822:, The Gilbert and Sullivan Discography, 13 April 2009, retrieved 2 August 2016
738:
429:
3600:
3557:
3528:
3290:
3256:
3119:
2970:
2951:
2910:
2788:, The Gilbert and Sullivan Discography, 5 April 2009, retrieved 2 August 2016
2737:, The Gilbert and Sullivan Discography, 11 July 2009, retrieved 2 August 2016
2667:, The Gilbert and Sullivan Discography, 5 April 2003, retrieved 2 August 2016
2549:
1992:
1836:
1729:
1552:
1547:
1334:
1311:
1031:
1013:
984:
751:
613:
500:
450:
413:
370:
302:
216:
190:
150:
87:
79:
64:
3188:
1347:
857:
17. "If Saphir I choose to marry" (Angela, Saphir, Duke, Major, and Colonel)
755:
32:"Bunthorne" redirects here. For the author writing under the pseudonym, see
3332:
3297:
3166:
3161:
2660:
2357:
1906:
1828:
1744:
1681:
1676:
1608:
1603:
1598:
1512:
1507:
1484:
1479:
1474:
1437:
1321:
1316:
1292:
1239:
1193:
1183:
1151:
935:
927:
823:
819:
588:
573:
417:
392:
166:
99:
72:
33:
2557:
took over the management of that theatre from Carte. See "Opera Comique",
2503:
A history of the New York stage from the first performance in 1732 to 1901
814:
3480:
3401:
3391:
2918:
2850:
2409:
Information about, and programmes for, American and other productions of
1988:
1872:
1769:
1749:
1734:
1696:
1686:
1613:
1282:
1269:
1211:
778:
3a. "If you want a receipt for that popular mystery" (Colonel and Chorus)
387:
325:
290:
272:
56:
3099:
1995:
recorded "Prithee Pretty Maiden" for the Canadian folk music TV program
845:
13. "A magnet hung in a hardware shop" (Grosvenor and Chorus of Maidens)
811:
that was included on the 1994 new D'Oyly Carte Opera Company recording.
799:
8a. "Though to marry you would very selfish be" (Patience and Grosvenor)
3339:
3214:
1365:
906:
787:
5. "When I first put this uniform on" (Colonel and Chorus of Dragoons)
716:
223:
were working on an "æsthetic subject", and so Burnand raced to produce
863:
19. "I'm a Waterloo House young man" (Grosvenor and Chorus of Maidens)
763:
1. "Twenty love-sick maidens we" (Angela, Ella and Chorus of Maidens)
3346:
3078:
2644:"Retired opera singer Cynthia Morey lands 'yum' film role in Quartet"
1370:
747:
529:
240:
170:
3325:
3209:
2924:
Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan
2703:, Musical Collectibles catalogue website, retrieved 15 October 2012
2231:
for elevating sensual, physical love to the level of the spiritual.
889:
461:
268:
115:
3067:
The Operettas of Sir Arthur Sullivan – Volume I (PhD thesis)
340:(under the pseudonym "Thomas Maitland") in an article called "The
3504:
729:, who was then a pupil of Sullivan's, based on Sullivan's sketch.
511:
3189:
Biographies of the people listed in the historical casting chart
39:
958:
769:
2a. "I cannot tell what this love may be" (Patience and Chorus)
596:
236:
162:
68:
1968:, Glyndebourne Festival Chorus; Conductor: Sir Malcolm Sargent
854:
16. "It's clear that mediaeval art" (Duke, Major, and Colonel)
655:
When I first put this uniform on ... Am I alone and unobserved
609:
595:
Bunthorne, heartbroken by Patience's rejection, has chosen to
247:
structure, style and heavy use of alliteration. The latter's "
3045:
The British Musical Theatre – Volume I, 1865–1914
945:
In America, Richard D'Oyly Carte mounted a production at the
472:
297:
was not the first satire of the aesthetic movement played by
248:
2265:
Williams, p. 175, discussing the parody of poetic styles in
784:
4a. "Twenty love-sick maidens we" (Chorus of Maidens – Exit)
772:
2b. "Twenty love-sick maidens we" (Chorus of Maidens – Exit)
1933:
2288:
from arthurlloyd.co.uk, retrieved 20 July 2007. See also
842:
12. "Turn, oh turn, in this direction" (Chorus of Maidens)
793:
7. "Long years ago, fourteen maybe" (Patience and Angela)
542:
Chorus of Rapturous Maidens and Officers of Dragoon Guards
881:
of the opera contains links explaining these references.
836:
10. "On such eyes as maidens cherish" (Chorus of Maidens)
646:
934:, who also designed a new set that year. New designs by
675:
Love is a plaintive song ... So go to him and say to him
305:. Grossmith himself had written a sketch in 1876 called
851:
15. "So go to him, and say to him" (Jane and Bunthorne)
2981:
At the Temple of Art: the Grosvenor Gallery, 1877-1890
2290:
this article from the Ambassador Theatre Group Limited
2050:
this article on longest runs in the theatre up to 1920
896:
as Patience at the Bijou Opera House in New York, 1882
3028:(3rd ed.). London: Macmillan General Reference.
2962:
Records and Reminiscences : Personal and General
860:
18. "When I go out of door" (Bunthorne and Grosvenor)
796:
8. "Prithee, pretty maiden" (Patience and Grosvenor)
3180:
Souvenir Programme marking the 250th performance of
1981:
1994 New D'Oyly Carte – Conductor: John Owen Edwards
775:
3. "The soldiers of our Queen" (Chorus of Dragoons)
2227:In the essay, Buchanan excoriates Rossetti and the
251:" poetry, simpler and pastoral, echoes elements of
3000:
2898:
2323:, at the Lyric Opera San Diego website, June 2009
239:1960s, making a flower-child poet the rival of a
3598:
2065:"A Satire With Targets Not So Well Remembered"
263:, used Swinburne's velvet jacket, the painter
183:a big hit. The same factors made a hit out of
3230:
3194:Posters from the original American production
2861:Gilbert and Sullivan – A Dual Biography
2163:
2161:
2159:
2157:
408:On 10 October 1881, during its original run,
3094:(1). West Virginia University Press: 45–53.
2506:. New York: Dodd, Mead and company. p.
802:9. "Let the merry cymbals sound" (Ensemble)
790:6. "Am I alone and unobserved?" (Bunthorne)
149:are mentioned here. A tiny, pennant-waving
3449:People associated with Gilbert and Sullivan
3422:International Gilbert and Sullivan Festival
3130:Gilbert and Sullivan: Gender, Genre, Parody
1938:International Gilbert and Sullivan Festival
866:20. "After much debate internal" (Ensemble)
3417:Cultural influence of Gilbert and Sullivan
3237:
3223:
3124:Also, five supplements, privately printed.
3025:The New York Public Library Desk Reference
2834:, JoniMitchell.com, retrieved 21 June 2015
2300:Burgess, Michael. "Richard D'Oyly Carte",
2183:
2181:
2154:
572:Bunthorne, left alone, confesses that his
27:1881 comic opera by Gilbert & Sullivan
3175:NY Times review of original NY production
3170:at The Gilbert & Sullivan Discography
2429:During his term of office, Chief Justice
975:in 1969, in an acclaimed production with
848:14. "Love is a plaintive song" (Patience)
421:a glowing lightbulb before the audience.
311:that was revived as a companion piece to
3244:
2984:. Fairleigh Dickinson University Press.
2845:
2633:Rollins and Witts, 3rd Supplement, p. 28
2377:
2375:
2242:"The Lecture Tour of North America 1882"
2202:The Life & Work of Luke Fildes, R.A.
2059:
2057:
1918:
888:
813:
737:
608:
579:
550:
428:
369:
277:
193:based partly on the satiric cartoons of
130:
38:
3439:List of compositions by Arthur Sullivan
3132:. New York: Columbia University Press.
2624:Rollins and Witts, 1st Supplement, p. 7
2178:
219:leaked to Burnand the information that
14:
3599:
3110:Rollins, Cyril; R. John Witts (1962).
2694:"Professional Shows from the Festival"
2441:
2369:Hulme, pp. 242–243; and Ainger, p. 195
2204:, J. S. Virtue & Co. (1895), p. 23
3218:
3157:at The Gilbert & Sullivan Archive
2905:. London: Cassell & Company Ltd.
2499:
2372:
2054:
1104:
910:. The original sets were designed by
884:
2880:The First Night Gilbert and Sullivan
839:11. "Sad is that woman's lot" (Jane)
3581:
3047:. Oxford: Oxford University Press.
2381:Rollins and Witts, Appendix, p. VII
2333:Description of lightbulb experiment
1923:Illustration from an 1885 programme
555:"Rapturous maidens" await Bunthorne
317:in 1878, which was a satire of the
267:'s hairstyle and monocle, and knee-
211:to the stage by several weeks, but
141:cartoons satirised æsthetes. Both
98:comic operas would be known as the
24:
2882:. London: Chappell & Co. Ltd.
2352:past D'Oyly Carte productions and
2218:, the Gilbert and Sullivan Archive
715:Problems playing these files? See
635:
628:
492:Mr. Bunthorne's Solicitor (silent)
354:. Nonetheless, Wilde's biographer
350:for October 1871, a decade before
25:
3643:
3162:Complete downloadable vocal score
3147:
2944:Stars of the Stage: W. S. Gilbert
2286:this article on the Savoy Theatre
2248:, retrieved 29 October 2023; and
436:(left and right) contrasted with
3580:
3571:
3570:
3454:Works about Gilbert and Sullivan
3198:
2173:The Gilbert and Sullivan Archive
2038:was the longest-running work of
700:
680:
660:
2901:The Gilbert & Sullivan Book
2825:
2808:
2791:
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2190:
1955:1951 D'Oyly Carte – Conductor:
1949:1930 D'Oyly Carte – Conductor:
1064:Authorised American production
52:Patience; or, Bunthorne's Bride
3607:Operas by Gilbert and Sullivan
2512:. Retrieved 14 September 2010.
2500:Brown, Thomas Allston (1903).
2442:Garcia, Guy D. (2 June 1986).
2399:Rollins and Witts, supplements
2145:
2142:Jones, p. 46; Williams, p. 179
2136:
2127:
2104:
2095:
2083:
2074:
2027:
467:Lieut. The Duke of Dunstable (
231:opened. Modern productions of
13:
1:
2841:
1914:
971:entered the repertory of the
126:
2959:Burnand, Francis C. (1904).
1964:1962 Sargent/Glyndebourne –
1094:
1077:
1060:
1041:
1023:
82:, London, on 23 April 1881,
7:
3208:public domain audiobook at
3128:Willilams, Carolyn (2010).
2946:. London: the Bodley Head.
2927:. Oxford University Press.
2863:. Oxford University Press.
2472:Rollins and Witts, pp. 8–21
2360:'s D'Oyly Carte production.
2187:Ellmann, pp. 135 and 151–52
2169:"Bunthorne and Oscar Wilde"
2117:The Illustrated London News
2008:
871:Note on topical references:
546:
10:
3648:
3427:W. S. Gilbert bibliography
3397:D'Oyly Carte Opera Company
3114:. London: Michael Joseph.
2437:production of the piece.
2200:in Thompson, David Croal.
917:In the British provinces,
330:Algernon Charles Swinburne
59:in two acts with music by
31:
3566:
3472:
3384:
3275:
3252:
2999:Ellmann, Richard (1988).
2942:Browne, Edith A. (1907).
2615:Rollins and Witts, p. 182
2606:Rollins and Witts, p. 175
2597:Rollins and Witts, p. 170
2588:Rollins and Witts, p. 160
2579:Rollins and Witts, p. 148
2570:Rollins and Witts, p. 132
2035:Les Cloches de Corneville
746:we are!" (left to right:
469:Officer of Dragoon Guards
458:Officer of Dragoon Guards
447:Officer of Dragoon Guards
344:of Poetry", published in
120:Les Cloches de Corneville
2978:Denney, Colleen (2000).
2878:Allen, Reginald (1975).
2859:Ainger, Michael (2002).
2832:"Prithee, Pretty Maiden"
2561:, 18 October 1881, p. 4.
2530:Rollins and Witts, p. 21
2521:Rollins and Witts, p. 19
2417:10 December 2008 at the
2304:, January 1975, pp. 7–11
2124:in Williams, pp. 153–54.
2020:
981:Metropolitan Opera House
818:"...sing 'boo' to you" (
424:
157:backpack at lower right.
86:moved to the 1,292-seat
3612:English-language operas
3354:The Yeomen of the Guard
3312:The Pirates of Penzance
3105:(subscription required)
2748:"The 1961 D'Oyly Carte
2731:"The 1951 D'Oyly Carte
2714:"The 1930 D'Oyly Carte
2678:"The 1965 D'Oyly Carte
2481:Rollins and Witts, p. 8
2390:Allen 1975, p. 461
2272:The Contemporary Review
2256:, 10 January 1882, p. 5
2250:"Oscar Wilde's Lecture"
1054:
1038:
1030:
1012:
645:Excerpts from the 1921
412:transferred to the new
347:The Contemporary Review
78:First performed at the
3071:Aberystwyth University
2897:Baily, Leslie (1952).
2854:
2799:"The New D'Oyly Carte
2314:"Richard D'Oyly Carte"
2246:Oscar Wilde in America
1930:English National Opera
1924:
1569:Elizabeth Nickell-Lean
973:English National Opera
897:
873:Songs and dialogue in
827:
759:
649:recording of the opera
640:
617:
592:
587:as Bunthorne "curses"
556:
441:
378:
334:Dante Gabriel Rossetti
286:
265:James McNeill Whistler
158:
47:
3632:Operas set in England
3489:The Sapphire Necklace
3022:Fargis, Paul (1998).
2849:
2816:"The Opera Australia
2319:13 April 2009 at the
2229:Pre-Raphaelite school
1922:
1279:Blanche Gaston-Murray
1081:First London revival
892:
817:
741:
639:
612:
583:
554:
485:Archibald Grosvenor (
432:
373:
281:
134:
42:
3617:English comic operas
3412:Bridget D'Oyly Carte
3267:Richard D'Oyly Carte
3246:Gilbert and Sullivan
3063:Hulme, David Russell
3043:Gänzl, Kurt (1986).
2699:26 June 2012 at the
2435:Washington Savoyards
2122:discussed and quoted
1258:H. Carlyle Pritchard
977:Derek Hammond-Stroud
900:The original run of
510:) (mezzo-soprano or
478:Reginald Bunthorne (
438:'fashionable attire'
299:Richard D'Oyly Carte
221:Gilbert and Sullivan
96:Gilbert and Sullivan
3407:Rupert D'Oyly Carte
3007:. New York: Knopf.
2965:. London: Methuen.
1944:Selected recordings
1864:Rosalind Griffiths
1189:Llewellyn Cadwaladr
1148:William T. Carleton
809:David Russell Hulme
445:Colonel Calverley (
271:like those worn by
94:. Henceforth, the
43:1881 Programme for
3545:The Rose of Persia
3497:The Contrabandista
2855:
2782:"The Brent Walker
2339:, 28 December 1881
2254:The New York Times
2167:Crowther, Andrew.
2069:The New York Times
2042:in history, until
1975:; Stage Director:
1966:Pro Arte Orchestra
1925:
1878:Ann Drummond-Grant
1540:Nellie Briercliffe
1445:C. William Morgan
1232:Rutland Barrington
1222:Charles H. Workman
1105:Historical casting
953:starred the young
898:
885:Production history
828:
760:
641:
618:
593:
557:
489:) (lyric baritone)
482:) (comic baritone)
456:Major Murgatroyd (
442:
379:
301:'s company at the
287:
167:aesthetic movement
159:
73:aesthetic movement
48:
3594:
3593:
3464:Performing groups
3139:978-0-231-14804-7
3054:978-0-19-520509-1
3035:978-0-02-862169-2
3014:978-0-394-55484-6
2991:978-0-8386-3850-7
2934:978-0-19-516700-9
2889:978-0-903443-10-4
2870:978-0-19-514769-8
2765:"The Sargent/EMI
2650:, 2 February 2013
2555:John Hollingshead
2431:William Rehnquist
2015:Grosvenor Gallery
1912:
1911:
1897:Margaret Mitchell
1860:Valerie Masterson
1833:Elizabeth Howarth
1710:James Conroy-Ward
1638:
1637:
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1102:
1101:
1055:22 September 1881
932:George Sheringham
705:
685:
665:
506:The Lady Saphir (
495:The Lady Angela (
195:George du Maurier
67:. The opera is a
16:(Redirected from
3639:
3584:
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3574:
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3553:The Emerald Isle
3537:The Beauty Stone
3239:
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3088:Victorian Poetry
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2814:Shepherd, Marc.
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2797:Shepherd, Marc.
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2780:Shepherd, Marc.
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2763:Shepherd, Marc.
2761:
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2729:Shepherd, Marc.
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2198:Image of "Betty"
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2151:Jones, pp. 48–52
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2071:, 5 January 2014
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1883:Christene Palmer
1842:Patricia Leonard
1783:Kenneth Sandford
1778:Kenneth Sandford
1672:Darrell Fancourt
1640:
1639:
1490:Grahame Clifford
1457:Charles Goulding
1425:Darrell Fancourt
1420:Darrell Fancourt
1415:Darrell Fancourt
1378:
1377:
1236:James Barton Key
1207:George Grossmith
1169:Arthur Wilkinson
1123:Standard Theatre
1112:
1111:
1050:Standard Theatre
1039:22 November 1882
993:
992:
963:J. C. Williamson
947:Standard Theatre
707:
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526:Rapturous Maiden
519:Rapturous Maiden
508:Rapturous Maiden
497:Rapturous Maiden
375:Sydney Granville
308:Cups and Saucers
283:George Grossmith
261:George Grossmith
253:Coventry Patmore
63:and libretto by
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3368:Utopia, Limited
3305:H.M.S. Pinafore
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2001:, broadcast by
1973:Alexander Faris
1957:Isidore Godfrey
1951:Malcolm Sargent
1917:
1888:Lyndsie Holland
1816:Peggy Ann Jones
1809:Joan Gillingham
1795:Wilfred Stelfox
1774:Arthur Richards
1706:Alfred Oldridge
1662:
1657:
1652:
1647:
1634:Margery Abbott
1627:Winifred Lawson
1573:Doreen Binnion
1565:Beatrice Elburn
1500:Leicester Tunks
1410:Frederick Hobbs
1400:
1395:
1390:
1385:
1343:Rosina Brandram
1217:Walter Passmore
1175:Richard Andean
1134:
1129:
1124:
1119:
1107:
1072:7 November 1900
1036:10 October 1881
955:Lillian Russell
930:and in 1928 by
894:Lillian Russell
887:
879:Wikisource text
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524:The Lady Jane (
517:The Lady Ella (
487:an Idyllic Poet
434:Aesthetic dress
427:
356:Richard Ellmann
338:Robert Buchanan
314:H.M.S. Pinafore
161:The opera is a
129:
111:H.M.S. Pinafore
61:Arthur Sullivan
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2080:Fargis, p. 261
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2048:in 1886. See
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480:a Fleshly Poet
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440:(centre), 1881
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342:Fleshly School
257:William Morris
128:
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92:electric light
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2490:Gänzl, p. 187
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2175:, 8 June 2009
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2016:
2013:
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1994:
1993:Joni Mitchell
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1590:Rosalie Dyer
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1581:Phyllis Smith
1580:
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1553:Marjorie Eyre
1551:
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1548:Marjorie Eyre
1546:
1544:Aileen Davies
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1362:Carrie Burton
1361:
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1339:Augusta Roche
1338:
1336:
1335:Alice Barnett
1333:
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1325:
1323:
1320:
1318:
1315:
1313:
1312:May Fortescue
1310:
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1303:Marie Wilson
1302:
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1297:Rose Chapelle
1296:
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1254:
1252:George Bowley
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1198:Harold Wilde
1197:
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1187:
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1156:Frank Wilson
1155:
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1133:Savoy Theatre
1132:
1128:Savoy Theatre
1127:
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1118:Opera Comique
1117:
1114:
1113:
1110:
1097:
1091:
1088:
1086:Savoy Theatre
1085:
1084:
1080:
1075:20 April 1901
1074:
1071:
1069:Savoy Theatre
1068:
1067:
1063:
1058:23 March 1882
1057:
1051:
1048:
1047:
1044:
1035:
1033:
1032:Savoy Theatre
1029:
1026:
1020:
1018:23 April 1881
1017:
1015:
1014:Opera Comique
1011:
1007:
1004:
1001:
998:
995:
994:
991:
988:
986:
985:New York City
982:
978:
974:
970:
966:
964:
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956:
952:
948:
943:
941:
937:
933:
929:
926:, in 1918 by
925:
920:
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913:
912:John O'Connor
909:
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718:
697:
696:
677:
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657:
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648:
626:
622:
615:
614:Alice Barnett
611:
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559:
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553:
541:
538:
534:
531:
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523:
520:
516:
513:
509:
505:
502:
501:mezzo-soprano
498:
494:
491:
488:
484:
481:
477:
474:
470:
466:
463:
459:
455:
452:
451:bass-baritone
448:
444:
443:
439:
435:
431:
422:
419:
415:
414:Savoy Theatre
411:
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349:
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327:
322:
320:
316:
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310:
309:
304:
303:Opera Comique
300:
296:
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284:
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276:
274:
270:
266:
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258:
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244:
242:
238:
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230:
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218:
217:Frederic Clay
214:
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206:
202:
201:
196:
192:
191:F. C. Burnand
188:
187:
182:
177:
172:
168:
164:
156:
153:peeks out of
152:
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140:
139:
133:
124:
122:
121:
117:
113:
112:
107:
103:
101:
97:
93:
89:
88:Savoy Theatre
85:
81:
80:Opera Comique
76:
74:
70:
66:
65:W. S. Gilbert
62:
58:
54:
53:
46:
41:
35:
30:
19:
3551:
3543:
3535:
3527:
3519:
3511:
3503:
3495:
3487:
3479:
3373:
3366:
3359:
3352:
3345:
3338:
3333:Princess Ida
3331:
3324:
3318:
3317:
3310:
3303:
3298:The Sorcerer
3296:
3289:
3282:
3204:
3181:
3167:
3154:
3129:
3111:
3091:
3087:
3066:
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3002:
2980:
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2593:
2584:
2575:
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2558:
2548:
2544:
2540:
2535:
2526:
2517:
2502:
2495:
2486:
2477:
2468:
2456:. Retrieved
2452:the original
2438:
2425:
2410:
2404:
2395:
2386:
2365:
2358:Peter Goffin
2344:
2336:
2328:
2309:
2302:The Savoyard
2301:
2296:
2280:
2270:
2266:
2261:
2253:
2245:
2236:
2223:
2214:
2209:
2201:
2192:
2172:
2147:
2138:
2129:
2121:
2115:
2111:
2106:
2097:
2085:
2076:
2068:
2043:
2033:
2029:
1996:
1987:
1940:since 2000.
1926:
1907:Pamela Field
1829:Joyce Wright
1801:Jon Ellison
1745:Martyn Green
1682:Donald Adams
1677:Donald Adams
1661:D'Oyly Carte
1656:D'Oyly Carte
1651:D'Oyly Carte
1646:D'Oyly Carte
1631:Doreen Denny
1609:Dorothy Gill
1604:Bertha Lewis
1599:Bertha Lewis
1531:Ernest Dale
1525:Alex Sheahan
1522:E. A. Cotton
1513:Leslie Rands
1508:Leslie Rands
1485:Martyn Green
1480:Henry Lytton
1475:Henry Lytton
1453:Dewey Gibson
1438:Martyn Green
1434:Allen Morris
1399:D'Oyly Carte
1394:D'Oyly Carte
1389:D'Oyly Carte
1384:D'Oyly Carte
1322:Agnes Fraser
1317:Alma Stanley
1293:Julia Gwynne
1244:John Clulow
1240:Henry Lytton
1194:Robert Evett
1184:Durward Lely
1152:Jones Hewson
1108:
1089:4 April 1907
1002:Closing Date
999:Opening Date
989:
968:
967:
950:
944:
939:
936:Peter Goffin
928:Hugo Rumbold
918:
916:
905:
901:
899:
874:
870:
869:
805:
743:
714:
694:
674:
654:
623:
619:
616:as Lady Jane
603:
602:
594:
591:as Grosvenor
574:aestheticism
571:
563:
537:a Dairy Maid
536:
525:
518:
507:
496:
486:
479:
468:
457:
446:
409:
407:
402:
397:
393:The Sorcerer
391:
383:
380:
377:as Grosvenor
363:
359:
351:
345:
323:
319:blue pottery
312:
306:
294:
288:
285:as Bunthorne
275:and others.
245:
232:
228:
224:
212:
208:
204:
198:
189:, a play by
184:
180:
160:
146:
142:
136:
118:
109:
105:
104:
100:Savoy Operas
83:
77:
51:
50:
49:
44:
34:Bob Smithies
29:
3627:1881 operas
3586:WikiProject
3521:Haddon Hall
3481:Cox and Box
3459:Adaptations
3444:Grim's Dyke
3402:Helen Carte
3392:Savoy opera
3003:Oscar Wilde
2851:Jessie Bond
2648:Oxford Mail
1989:Oscar Brand
1873:Ella Halman
1820:Judi Merri
1812:Beryl Dixon
1798:Jon Ellison
1792:Ernest Dale
1770:Alan Styler
1750:Peter Pratt
1735:Meston Reid
1697:Peter Pratt
1687:John Ayldon
1614:Ella Halman
1283:Jessie Rose
1270:Jessie Bond
1212:J. H. Ryley
539:) (soprano)
521:) (soprano)
326:Oscar Wilde
291:Luke Fildes
273:Oscar Wilde
225:The Colonel
205:The Colonel
186:The Colonel
147:The Colonel
57:comic opera
3601:Categories
3556:(1901) w/
3340:The Mikado
2842:References
2682:Broadcast"
2354:this photo
1915:Recordings
1663:1975 Tour
1584:Irene Hill
1562:Ella Milne
1401:1945 Tour
1366:Isabel Jay
1348:Louie René
1326:Ruby Gray
1300:Lulu Evans
1172:W. H. Leon
1052:, New York
907:The Mikado
717:media help
535:Patience (
418:gas-burner
388:Bab Ballad
293:painting.
203:magazine.
155:Sullivan's
127:Background
3347:Ruddigore
3120:504581419
3079:2160/7735
2971:162966824
2952:150457714
2911:557872459
2559:The Times
2545:The Times
2458:17 August
2337:The Times
2005:in 1966.
1789:Solicitor
1766:Grosvenor
1760:John Reed
1755:John Reed
1741:Bunthorne
1702:John Reed
1658:1965 Tour
1653:1957 Tour
1648:1950 Tour
1519:Solicitor
1496:Grosvenor
1471:Bunthorne
1462:John Dean
1396:1935 Tour
1391:1925 Tour
1386:1915 Tour
1371:Clara Dow
1249:Solicitor
1228:Grosvenor
1203:Bunthorne
530:contralto
398:Patience.
241:beat poet
171:aesthetic
18:Bunthorne
3576:Category
3326:Iolanthe
3319:Patience
3210:LibriVox
3205:Patience
3182:Patience
3168:Patience
3155:Patience
3100:40001289
3065:(1986).
2921:(2005).
2818:Patience
2801:Patience
2784:Patience
2767:Patience
2750:Patience
2733:Patience
2716:Patience
2697:Archived
2680:Patience
2663:Patience
2541:Patience
2444:"People"
2415:Archived
2411:Patience
2317:Archived
2267:Patience
2112:Patience
2089:Denney,
2009:See also
1977:John Cox
1903:Ann Hood
1894:Patience
1620:Patience
1354:Patience
1008:Details
969:Patience
951:Patience
940:Patience
919:Patience
902:Patience
875:Patience
742:"...and
585:Passmore
547:Synopsis
462:baritone
410:Patience
403:Patience
384:Patience
364:Patience
360:Patience
352:Patience
295:Patience
269:breeches
233:Patience
229:Patience
213:Patience
209:Patience
181:Patience
176:painters
143:Patience
116:operetta
106:Patience
84:Patience
45:Patience
3513:Ivanhoe
3505:The Zoo
3385:Related
3284:Thespis
3185:in 1881
2820:(1995)"
2803:(1994)"
2786:(1982)"
2769:(1962)"
2045:Dorothy
1668:Colonel
1406:Colonel
1140:Colonel
996:Theatre
826:, 1919)
758:, 1907)
752:Workman
512:soprano
321:craze.
249:idyllic
227:before
165:on the
151:Gilbert
71:on the
55:, is a
3622:Operas
3558:German
3548:(1899)
3540:(1898)
3532:(1894)
3524:(1892)
3516:(1891)
3508:(1875)
3500:(1867)
3492:(1867)
3484:(1866)
3276:Operas
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1825:Saphir
1806:Angela
1559:Saphir
1536:Angela
1289:Saphir
1266:Angela
1005:Perfs.
959:Sydney
831:Act II
820:Lytton
604:Act II
597:raffle
589:Lytton
237:hippie
163:satire
69:satire
3096:JSTOR
2553:when
2356:from
2091:p. 38
2021:Notes
1693:Major
1431:Major
1161:Major
1135:1907
983:, in
824:Lewis
734:Act I
560:Act I
473:tenor
425:Roles
207:beat
200:Punch
138:Punch
135:Many
3134:ISBN
3116:OCLC
3049:ISBN
3030:ISBN
3009:ISBN
2986:ISBN
2967:OCLC
2948:OCLC
2929:ISBN
2907:OCLC
2884:ISBN
2865:ISBN
2460:2007
2448:Time
2284:See
1991:and
1934:BBC2
1869:Jane
1848:Ella
1716:Duke
1643:Role
1595:Jane
1578:Ella
1450:Duke
1381:Role
1331:Jane
1308:Ella
1180:Duke
1130:1900
1125:1881
1120:1881
1115:Role
822:and
756:René
754:and
744:here
332:and
255:and
145:and
3075:hdl
2543:in
2508:246
2439:See
2335:in
2114:in
1078:150
1061:177
1042:408
1024:170
748:Dow
647:HMV
528:) (
499:) (
471:) (
460:) (
449:) (
197:in
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2252:,
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2180:^
2171:,
2156:^
2067:,
2056:^
1095:51
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