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906:, Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert confronted Carte, and Carte refused to reconsider the accounts: Even though the amount of the charge was not great, Gilbert felt it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert wrote in a letter to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." Gilbert brought a lawsuit, but Sullivan sided with Carte, who was building the
738:, which opened in 1882. During its run, in February 1883, Carte signed a five-year partnership agreement with Gilbert and Sullivan, obligating them to create new operas for the company upon six months' notice. Sullivan had not intended immediately to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882 and must have felt the long-term contract necessary for his security. But he soon felt trapped. The Gilbert scholar Andrew Crowther comments, regarding the agreement: "Effectively, it made Carte's employees – a situation which created its own resentments." The partnership's next opera,
1230:, which underwent some cuts and received a new overture, very few changes were made to the text and music of the operas as Gilbert and Sullivan had produced them, and the company stayed true to Gilbert's period settings. Even after Gordon's death, many of Gilbert's directorial concepts survived, both in the stage directions printed in the libretti and as preserved in company prompt books. Original choreography was also maintained. Some of the company's staging became accepted as traditional by Gilbert and Sullivan fans, and many of these traditional stagings are still imitated today in productions by both amateur and professional companies.
696:, amateur actors were treated with contempt by professionals. After the formation of amateur Gilbert and Sullivan companies licensed to perform the operas, professionals recognised that the amateur societies "support the culture of music and the drama. They are now accepted as useful training schools for the legitimate stage, and from the volunteer ranks have sprung many present-day favourites." Cellier and Bridgeman attributed the rise in quality and reputation of the amateur groups largely to "the popularity of, and infectious craze for performing, the Gilbert and Sullivan operas". The
1773:'s Music Panel and Touring Committee recommended that the Arts Council make a grant to the company, but this idea was rejected. The company's fans made an effort to raise private funds, but these were insufficient to make up the accelerating losses. In 1981 the producer George Walker proposed to film the company performing all of the Gilbert and Sullivan operas but backed out. Bridget D'Oyly Carte was forced to close the company in 1982, after a final London season in which Reed and Masterson returned as guest artists. It gave its last performance on 27 February 1982, at the
475:. Carte then took a six-month personal lease on the theatre beginning on 1 February 1879. Carte persuaded Gilbert and Sullivan that when their original agreement with the Comedy Opera Company expired in July 1879, a business partnership among the three of them would be to their advantage. The three each put up £1,000 and formed a new partnership under the name "Mr Richard D'Oyly Carte's Opera Company". Under the partnership agreement, once the expenses of mounting the productions had been deducted, each of the three men was entitled to one third of the profits.
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when my mother came to see me in London, expecting to find me dwelling in haunts of gilded luxury, and far down the road to perdition, I took her behind the scenes and showed her the arrangements for the actors and actresses, conventual in their austerity. ... I think there never was a theatre run on lines of such strict propriety; no breath of scandal ever touched it in all the twenty years of my experience. Gilbert would suffer no loose word or gesture either behind the stage or on it, and watched over us young women like a dragon.
1295:, playing most of the Gilbert and Sullivan operas in repertory and showing off the new sets and costumes. The success of this season led to additional London seasons in 1921–22, 1924, and 1926; the company toured the rest of the year. Carte's first London season stimulated renewed interest in the operas, and by 1920 he had established a second, smaller company to tour smaller towns. It was disbanded in 1927, although the company often ran multiple tours simultaneously. For London seasons, Carte engaged guest conductors, first
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843:, which premiered in October 1888. The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a "dramatic work on a larger musical scale". Gilbert declined, but offered a compromise that Sullivan ultimately accepted: The two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera (
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1387:, included summer seasons from 1935 to 1939, 1942, 1947 to 1950, 1953, 1971, 1975, 1977 and 1980; and winter seasons in 1956–57, 1958–59, 1960–61, 1963–64, 1965–66, 1967–68, and then every winter between 1969–70 and 1981–82. The company continued to tour the British provinces and abroad when it was not in London, and these tours also often included London suburbs. The company's musical director from 1929 (having been assistant musical director from 1925) was
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charitable trust. She endowed the trust with the company's scenery, costumes, band parts and other assets, together with a cash endowment, and supervised the production of operas on behalf of the trust until economic necessity forced the closure of the company in 1982. As it turned out, competing professional productions of
Gilbert and Sullivan did not harm the company. Beginning in 1959, the company re-recorded most of the operas with Pratt's successor,
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631:(later famous as manager of the Gaiety Theatre), introduced several innovations at the theatre, including numbered seating, free programme booklets, the "queue" system for the pit and gallery (an American idea) and a policy of no tipping for cloakroom or other services. Daily expenses at the theatre were about half the possible takings from ticket sales. The last eight of Gilbert and Sullivan's comic operas were premièred at the Savoy.
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behaviour on and off stage, and even a dress code. Soprano
Cynthia Morey ascribed the strong affection that artists had for the company to "the unique family atmosphere engendered by the company's direct descent from its creators, Gilbert, Sullivan ... Richard D'Oyly Carte, followed by his widow, Helen, his son Rupert, and finally his granddaughter Bridget." The company also preserved, for over a century, what
170:. The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept the Savoy operas in the public eye for over a century and left an enduring legacy of production styles and stage business that continue to be emulated in new productions, as well as recordings.
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1240:. According to H. M. Walbrook, "Through the years of the Great War continued to be on tour through the country, drawing large and grateful audiences everywhere. They helped to sustain the spirits of the people during that stern period, and by so doing they helped to win the victory." The company also toured in North America several times, beginning with a Canadian tour in 1927.
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326:, wrote: "Her character exactly compensated for the deficiencies in his." She became intensely involved in all of his business affairs and soon managed many of the company's responsibilities, especially concerning touring. She travelled to America numerous times over the years to arrange the details of the company's New York engagements and American tours.
278:, who was fascinated by Carte's vision for establishing a company to promote English comic opera. Gunn later joined Carte's management team. Still, Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of three English adaptations of French opera bouffe and two one-act English curtain raisers (
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450:, opened in May 1878. The opera's initial slow business was generally ascribed to a heat wave that made the stuffy Opera Comique particularly uncomfortable. Carte's partners in the Comedy Opera Company lost confidence in the show and posted closing notices. After Carte made promotional efforts and Sullivan included some of the
1884:, which included a deeply corrugated stage floor, "startling", "surreal, primary coloured, starkly angled sets", gimmicky distracting business and generally staging that was considered "way over the top". It "was unveiled to storms of outraged booing". Most of the critics shared the public's disapproval of the production.
1769:, conducted by the company's new musical director, Fraser Goulding, was a success in 1979. After the 1979 tour, the rising costs of mounting year-round professional light opera without any government support, despite some generous private contributions, caused the company to accrue increasing losses. In 1980 the
1518:, however, was an example of the company's stage directors from 1949 to 1953 who were said to be reluctant to update and freshen stagings. In 1957 Goffin designed a unit set for the company to facilitate touring, reducing the number of vans required to carry the scenery from twenty to nine. A 1957 review of
253:, which received an 1874 London revival. In 1873 Gilbert had offered a libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music. Carte remembered Gilbert's libretto and suggested to Gilbert that Sullivan write the music for a one-act comic opera,
638:, either as curtain-raisers to the Gilbert and Sullivan pieces, or as touring productions, as well as other works to fill the Savoy Theatre in between Savoy operas, and Carte also toured the Gilbert and Sullivan operas extensively. For example, a souvenir programme commemorating the 250th performance of
2495:, nevertheless added, "we cannot suppress a word of regret that the composer on whom before all others the chances of a national school of music depend should confine himself ... to a class of production which, however attractive, is hardly worthy of the efforts of an accomplished and serious artist".
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in August 1919, Carte set out his policy for staging the operas: "They will be played precisely in their original form, without any alteration to the words, or any attempt to bring them up to date." This uncompromising declaration was modified in a later interview in which he said, "the plays are all
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in
October 1893, commented, "Those who are old enough to compare the Savoy performances with those of the dark ages, taking into account the pictorial treatment of the fabrics and colours on the stage, the cultivation and intelligence of the choristers, the quality of the orchestra, and the degree of
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was the first production at the new theatre, transferring there on 10 October 1881. The first generator proved too small to power the whole building, and though the entire front-of-house was electrically lit, the stage was lit by gas until 28 December 1881. At that performance, Carte stepped on stage
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Knowing that
Gilbert and Sullivan shared his vision of broadening the audience for British light opera by increasing its quality and respectability, Carte gave Gilbert wider authority as a director than was customary among Victorian producers, and Gilbert tightly controlled all aspects of production,
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theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to select their own cast of performers, rather than being obliged to use the actors already engaged at the theatre. They chose talented actors, most of whom were not well-known stars and
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wrote, "The goings-on in the pit are dispiriting. Budgetary constraints have forced the company to re-write the score for a band of nine instrumentalists. They play well enough, but every one of
Sullivan's parodies loses its clout." The company received a modest Arts Council grant in 1997 to keep it
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With the approaching end of the D'Oyly Carte monopoly on
Gilbert and Sullivan performances, when the copyright on Gilbert's words expired in 1961 (Sullivan's music had already come out of copyright at the end of 1950), Bridget D'Oyly Carte contributed the company and all its assets to an independent
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On 3 September 1939, at the outbreak of World War II, the
British government ordered the immediate and indefinite closure of all theatres. Carte cancelled the autumn tour and disbanded the company. Theatres were permitted to reopen from 9 September, but it took some weeks to reestablish the company.
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During this conflict and others during the 1880s, Carte and Helen Lenoir frequently had to smooth over the partners' differences with a mixture of friendship and business acumen. Sullivan asked to be released from the partnership on several occasions. Nevertheless, they coaxed eight comic operas out
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was running weakly at the box office and invoked the agreement to call upon his partners for a new opera to be written. Almost from the beginning of the partnership, the musical establishment put pressure on
Sullivan to abandon comic opera, and he soon regretted having signed the five-year contract.
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No lingering about was allowed, no gossiping with the other actors; the women’s dressing-rooms were on one side of the stage, the men's on the other, and when we were not actually playing we had to mount at once our respective narrow staircases – sheep rigorously separated from the goats! Once,
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became so successful that the piano score sold 10,000 copies, and Carte soon sent two additional companies out to tour in the provinces. The opera ran for 571 performances in London, the second longest run in musical theatre history up to that time. More than 150 unauthorised productions sprang
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From 1909 to 1934, the principal comedian was Henry Lytton, who had been playing a variety of roles with the company steadily since 1887. He received a knighthood for his performances during his long tenure with the company. Lytton's voice deteriorated during his later career, and when HMV embarked
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married the company's principal flautist, Andrew March. She explained, "people didn't have flats or houses ... touring was your life." Throughout its history, the company maintained strict moral standards, and it was sometimes referred to as the "Savoy boarding school", enforcing policies regarding
1537:, which used some former members of the company in the cast. In 1955 the company gave a seven-month tour to the U.S. to celebrate the 75th anniversary of its first American productions. In 1959 the company began the tradition of holding a zany "last night" on the last evening of each London season.
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for London seasons beginning in 1998. Despite the lean forces, the company received generally favourable reviews over the next five years under the management of Ian Martin. Some of its recordings have been well received. Many of these recordings also restore music that had been cut by
Gilbert and
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sense of slapstick comedy", noting that "The girls are pretty and the boys are handsome, and they sing and dance with a youthful freshness". Also in 1991, the company accepted an offer from the
Alexandra Theatre, Birmingham, to make its base there, although its pattern of spring national tours and
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in London, but it was not as popular as the D'Oyly Carte production, and soon closed. Legal action over the ownership of the rights ended in victory for Carte, Gilbert and Sullivan. From 1 August 1879, the company, later called the D'Oyly Carte Opera Company, became the sole authorised producer of
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On 31 July 1879, the last day of their agreement with Gilbert and Sullivan, the directors of the Comedy Opera Company attempted to repossess the set by force during a performance, causing a celebrated fracas. Carte's stagehands managed to ward off their backstage attackers and protect the scenery.
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in 1875, the unknown George Grossmith was recruited in 1877. Before Grossmith left the company in 1889, he created the principal comic roles in nine of the operas, and so the principal comedian parts in the operas are often referred to as the "Grossmith" roles. Other performers who created a long
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Throughout the 20th century, until 1982, the company toured, on average, for 35 weeks per year (in addition to its 13-week London seasons), fostering a "strong family atmosphere, reinforced by the number of marriages in the company and the fact that so many people stayed with it for so long." The
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was founded in 1899. It reported, in 1914, that nearly 200 British societies were producing Gilbert and Sullivan operas that year. Carte insisted that amateur companies follow the D'Oyly Carte Opera Company staging, using its prompt books. Even after the copyrights expired at the end of 1961, the
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became the partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, the second longest run for any work of musical theatre up to that time, and it was extraordinarily popular in the U.S. and worldwide. It remains the most frequently performed Savoy opera. Beginning with
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as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and Sullivan. In 1961 the last copyright on the Gilbert and Sullivan operas expired, and Bridget set up and endowed a charitable trust that presented the operas until
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closed after a comparatively short run of nine months, for the first time in the partnership's history, the next opera was not ready. To make matters worse, Gilbert suggested a plot in which people fell in love against their wills after taking a magic lozenge – a scenario that Sullivan had
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was the only Gilbert and Sullivan opera to have its official premiere in America. Carte and his partners hoped to forestall further "piracy" by establishing the authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. They did
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at the Savoy in May 1897. Throughout the later 1890s, Carte's health was declining, and Mrs. Carte assumed more and more of the responsibilities of running the opera company. She profitably managed the theatre and the provincial touring companies. The Savoy's shows during this period received
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In the 1880s Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing their popularity and the sales of scores and libretti, as well as the rental of band parts. This had an important influence on amateur theatre in
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Unlike its predecessor, the new company was not a permanent ensemble with a recognisable style. Some performers appeared in several productions, but each production was cast anew, often with guest stars from British television in leading roles, with varying degrees of success. The chorus and
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praised the production and marvelled at "the continued vitality of the Savoy operas", noting: "The opera remains enchanting; the singing seems, on the whole, better and more musical than that which one used to hear, say, 30 years since; and though the acting lacks some of the richly crusted
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closed at the Savoy, Mrs. Carte leased the theatre to other managements until 8 December 1906. The company's fortunes declined for a time, and by 1904 there was only a single touring company wending its way through the British provinces, when it took a seven-month South African tour.
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wrote: "we secretly marvelled at the naturalness and ease with which were said and done. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings .... conjured into existence a hitherto unknown comic world of sheer delight."
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closed after a run of only nine months, the company mounted revivals of earlier Gilbert and Sullivan operas for almost a year. After another attempt by Gilbert to persuade Sullivan to set a "lozenge plot", Gilbert met his collaborator half way by writing a serio-comic plot for
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Gilbert and Sullivan aficionados frequently use the names of the principal comedians of the D'Oyly Carte Opera Company to refer to time periods of the company's history. Thus, after the sudden death of Sullivan's brother Fred, who had created the role of the Learned Judge in
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depicting characters from the Savoy operas wearing the costumes used by the D'Oyly Carte Opera Company, and numerous postcards were published with photos or illustrations of D'Oyly Carte performers and scenes from the operas. A children's theatre company in London is called
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During these years, the company's high production values, and the quality of the operas, created a national and international taste for them, and the company mounted touring productions throughout the provinces, in America (generally managed by Helen), Europe and elsewhere.
1303:, who examined Sullivan's manuscript scores and purged the orchestral parts of accretions. So striking was the orchestral sound produced by Sargent that the press thought he had retouched the scores, and Carte had the pleasant duty of correcting their error. In a letter to
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then held the stage until April 1893. While the company presented new pieces and revivals at the Savoy, Carte's touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America.
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being restaged. ... Gilbert's words will be unaltered, though there will be some freshness in the method of rendering them. Artists must have scope for their individuality, and new singers cannot be tied down to imitate slavishly those who made successes in the old days."
316:, for a small role in a touring production. She soon left the tour and obtained a position in Carte's entertainment agency. Lenoir was well-educated, and her grasp of detail and diplomacy, as well as her organisational ability and business acumen, surpassed even Carte's.
308:, along with the works of other British lyricist/composer teams. With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera. Carte leased the Opera Comique, a small theatre off
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style of performance than was commonly used at the time. Carte's talent agency provided many of the artists to perform in the new work. They then tailored their work to the particular abilities of these performers. Some of the cast members, including principal comedian
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616:. The Savoy Theatre was a state-of-the-art facility, setting a new standard for technology, comfort and decor. It was the first public building in the world to be lit entirely by electric lights and seated nearly 1,300 people (compared to the Opera Comique's 862).
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mounting costs and a lack of public funding forced the closure of the company in 1982. It re-formed in 1988 with a legacy left by Bridget D'Oyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from the
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protection to foreigners, Gilbert, Sullivan and Carte had no way to prevent them. To try to make some money from the popularity of their opera in America, Carte travelled to New York with Gilbert, Sullivan and the company to present an "authentic" production of
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was engaged to play his roles. The company resumed touring, in Edinburgh, on Christmas Day 1939. The company continued to perform throughout the war, both on tour and in London, but in 1940 German bombing destroyed the sets and costumes for five of its shows:
571:, and interior design. From the beginning, the D'Oyly Carte Opera Company established strict rules for its actors and actresses, to avoid any hint of scandal such as performers were accused of in other companies. As Jessie Bond described in her autobiography:
1328:). Rupert D'Oyly Carte supervised the company's recordings, including eight more acoustic recordings by 1924, and a series of electrical recordings (without dialogue) in the late 1920s and early 1930s. There were additional recordings, in high fidelity, for
1880:(including a heavily pregnant Angelina) that were much criticised by the old company's fans, who complained that it was a betrayal of the legacy left by Bridget D'Oyly Carte. The next season departed further from earnest presentations in its production of
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as stage manager. Gordon, who was promoted to stage director in 1922, had been a member of the company and a stage manager under Gilbert's direction, and he fiercely preserved the company's performing traditions in exacting detail for 28 years. Except for
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was an immediate hit in New York, and later London, becoming one of the most popular Gilbert and Sullivan operas. To secure the British copyright, there was a perfunctory performance the afternoon before the New York premiere, at the Royal Bijou Theatre,
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Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte, but the partnership had been so profitable that the Cartes eventually sought to reunite Gilbert and Sullivan. The reconciliation finally came through the efforts of
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wrote, "The satiric point disappears in meretricious ado and humourless humour". Some critics, however, thought that it was time to sweep away "bad and lazy" traditions of the old company, calling the production "riotous, zany and subversive ... with a
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became an international sensation, Carte jettisoned his difficult investors and formed a new partnership with Gilbert and Sullivan that became the D'Oyly Carte Opera Company. The company produced the succeeding ten Gilbert and Sullivan operas and many
855:, which opened in December 1889 and became one of the partnership's greatest successes. After Carte's first wife died in 1885, Carte married Helen Lenoir in 1888, who was, by this time, nearly as important in managing the company as Carte himself.
790:, which opened in March 1885. The piece satirised British institutions by setting them in a fictional Japan. At the same time, it took advantage of the Victorian craze for the exotic Far East using the "picturesque" scenery and costumes of Japan.
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From 1988, the revived company used guest artists for each production. The most regularly seen principal comedians were Eric Roberts and Richard Suart, both of whom also performed the "Grossmith" roles for other opera companies. Others included
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became a hit. The Opera Comique was required to close at Christmas 1878 for repairs to drainage and sewage under the Public Health Act of 1875. Carte used the enforced closure of the theatre to invoke a contract clause reverting the rights of
1829:. Unlike the original company, which had regularly performed up to a dozen operas each year, 48 weeks a year, the new company generally presented only one or two operas in shorter seasons. In the first season, in 1988, the operas played were
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performances of those days, it is perhaps none the worse for that". In 1949 the company began a new series of recordings with Decca, featuring Green, who had returned to the company after the war, and continued the series with his successor,
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Carte left his theatre, opera company and hotels to his wife, who assumed full control of the family businesses. Her London and touring companies continued to present the Savoy operas in Britain and overseas. She leased the Savoy Theatre to
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Rupert D'Oyly Carte found the company's productions increasingly "dowdy", however, and on his return from the war, he determined to refresh them, bringing in new designers including W. Bridges-Adams for the sets, and, for the costumes,
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In March and April 1975, after the regular London season at Sadler's Wells, the company moved to the Savoy Theatre for a fortnight's centennial performances, beginning on 25 March, the 100th anniversary of the first performance of
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and contralto Ella Halman. Green was followed by Peter Pratt, who left the company in 1959, after more than eight years as principal comedian, still only 36 years old. During Pratt's years, principals included the bass-baritone
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presented in 1992 and D'Oyly Carte toured in 1993 as part of its 35-week tour celebrating the 150th anniversary of Sullivan's birth. The innovation was welcomed, receiving an Arts Council Grant, and the company later presented
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is a biographical film about Gilbert and Sullivan, and depicts Richard D'Oyly Carte and many members of the D'Oyly Carte Opera Company, as well as many of the company's productions from the 1870s and 1880s. The 1999 film
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nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere. The company was revived for short seasons and tours from 1988 to 2003, and since 2013 it has co-produced four of the operas with
201:, had begun producing operettas in London. He announced his ambitions on the front of the programme for one of his productions that year: "It is my desire to establish in London a permanent abode for light opera."
122:, Carte ran the company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular. After Rupert's death in 1948, his daughter
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555:, opened at the Opera Comique in April 1881 and was another big success, becoming the second longest-running piece in the series and enjoying numerous foreign productions. Patience satirised the self-indulgent
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replaced him. Green's time with the company is remembered for the early Decca recordings of the operas. During Green's tenure, in addition to the long-serving Fancourt, principal players included the baritone
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closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The D'Oyly Carte company turned to new writing teams for the Savoy, first producing
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Sullivan or the company over the decades. Gubbay felt over-committed by 2003 and pulled out. After fifteen years, with no Arts Council funding forthcoming, the company suspended productions in May 2003.
1777:. A three-LP recording of this performance was released, which included songs from all of the Gilbert and Sullivan operas. The company had operated nearly continuously for 107 years since the opening of
1309:, he noted that "the details of the orchestration sounded so fresh that some of the critics thought them actually new... the opera was played last night exactly as written by Sullivan." Carte also hired
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and Rebecca Bottone. On 26 November 2019, D’Oyly Carte presented an evening of Gilbert and Sullivan at the Grand Theatre, Wolverhampton. The company had opened the Grand in 1894 with a performance of
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inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain and abroad. With the help of the director
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reported, "Mr D'Oyly Carte is not only a skilful manager, but a trained musician, and he appears to have grasped the fact that the public are beginning to become weary of what is known as a genuine
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received a new production, planned by Carte but not seen until after his death. The other two operas took longer to rejoin the company's repertory. On the other hand, for the first wartime season,
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in London, which Carte built in 1881 for that purpose. The company also mounted tours in Britain, New York and elsewhere, usually running several companies simultaneously. Carte's able assistant,
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concluded that the theatre "is admirably adapted for its purpose, its acoustic qualities are excellent, and all reasonable demands of comfort and taste are complied with." Carte and his manager,
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orchestra of the new company were much smaller than those of the old company: the chorus was reduced from 32 (or more) to 20, and the orchestra from 38 generally to 24. For a 1998 production of
107:, became his wife in 1888 and, after his death in 1901, she ran the company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company.
1391:, who retained the position until 1968 and guest conducted the company in 1975, as part of the centenary season at the Savoy Theatre. Guest conductors during Godfrey's tenure were Sargent and
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and became the first great success of Carte's scheme to found his school of English comic opera, playing for 300 performances from 1875 to 1877, as well as touring and enjoying many revivals.
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was the Savoy's most expensive production to date, but it ran for a comparatively disappointing 245 performances, until June 1894, turning a very modest profit. The company then played first
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and conducted by Derek Clark, starring Suart, Yvonne Howard, William Morgan, Mark Nathan, Charlie Drummond, Ben McAteer, Sioned Gwen Davies, Arthur Bruce, Catriona Hewitson and Dan Shelvey.
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The question turned on whether the Company's agreement with the authors had expired along with the Company's lease of the Opera Comique on 31 July 1879. The courts decided that it did.
2283:, Donald Adams, Gillian Knight, Valerie Masterson and Kenneth Sandford, all of whom, except the last, left the company for the wider operatic stage of Covent Garden, Sadler's Wells,
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succeed in keeping for themselves the direct profits of the venture, but they tried without success for many years to control the American performance copyrights over their operas.
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wrote a song called "In the D'Oyly Cart", a satire of the company and the rote "business" and gestures that it was accused of repeating. The song was first performed in the revue
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Another initiative was to stage a foreign operetta for the first time since Richard D'Oyly Carte's day, in what would be D'Oyly Carte's first co-production. The work chosen was
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The company was dormant from 2003 to 2012, but it successfully claimed reimbursement of VAT paid during the 1990s, which helped it return to production. From May to July 2013,
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as general manager. Bridget and Lloyd also took steps to keep the productions fresh, engaging designers to redesign the costumes and scenery. Peter Goffin, who had redesigned
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in 1909, and Gilbert banned Workman from appearing in his works in Britain. It is likely that, otherwise, Workman would have continued as principal comedian of the company.
1399:
retired in 1934 after a quarter century as the principal comedian, and the company made a highly successful eight-month North American tour with its new principal comedian,
211:, and are ready to welcome a musical entertainment of a higher order, such as a musician might produce with satisfaction". He wanted to establish a body of tasteful English
1872:, however, marked a break with traditional presentations, with the setting a giant toy-box and a collapsible toy boat. In 1990 the company presented campier versions of
1356:. The old house had three tiers; the new one had two. The seating capacity was increased from 986 to 1,158. The theatre reopened 135 days later on 21 October 1929, with
1857:
praised the musical standards, but added, "Gilbert and Sullivan is as much theatrical as musical entertainment and there remains a lot to be done on the visual side."
5864:
1352:
Rupert D'Oyly Carte also redesigned the Savoy Theatre. On 3 June 1929 the Savoy closed, and it was completely rebuilt to designs by Frank A. Tugwell with décor by
408:
ran for 178 performances, a healthy run at the time, making a profit, and Carte sent out a touring company in March 1878. Sheet music from the show sold well, and
858:
5557:
1853:
thought the productions "miles superior to the later work of the old D'Oyly Carte; better designed, better lit ... better played and better sung." A review in
1821:. From 1988 to 2003, the company mounted productions of the Gilbert and Sullivan operas on tour and in London, and it produced several operettas by Offenbach,
1789:
Dame Bridget D’Oyly Carte died in 1985, leaving in her will a £1 million legacy to enable the company to be revived. The company secured sponsorship from
6849:
6679:
917:, had a successful run, but Carte did not find suitable successors for the theatre, and it soon failed. He sold it, and it later became the Palace Theatre.
6669:
1383:
The Savoy also hosted London seasons for the company in 1930–31, 1933, 1941, 1951, 1954, 1961, 1963–64, and 1975. London seasons at other theatres, mostly
2978:
2792:, 29 March 1875, p. 10, quoted and discussed in Ainger, p. 109. See also Stedman, pp. 129–130; Ainger, pp. 111 and 117; and Rollins and Witts, pp. 1–18.
6844:
2478:
Bradley notes that royalties from British amateur companies were 10 per cent of the box office take plus hire costs for the band parts and prompt books
749:
In March 1884 Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself."
399:
to choreograph most of the Savoy operas. The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as the critic
5467:
4311:
259:, which was quickly composed and added to the Royalty's bill in March 1875. The witty and "very English" little piece proved even more popular than
2242:
Lytton was succeeded in 1934 by Martyn Green, who played the principal comic parts until 1951, except for a gap from the end of 1939 to 1946, when
3560:
1332:, in the late 1940s and early 1950s and stereo recordings in the late 1950s and early 1960s, all supervised after Rupert's death by his daughter,
6834:
6684:
6411:
5308:
2204:
on a series of complete recordings of the operas after World War I, he was not invited to record most of his roles. Instead, the concert singer
6457:
3178:, 1 September 1879, reprinted at the Stage Beauty website, Don Gillan (ed.), accessed 7 July 2010. See also "The Fracas at the Opera Comique",
2353:. It was also broadcast by the BBC. It concerned a nightmare experienced by a D'Oyly Carte tenor. The company is mentioned in the 1937 musical
1898:
summer London seasons was not affected. In 1997, following cuts in the funding of the theatre at Birmingham, the company moved its base to the
1221:
After Gilbert's death in 1911, the company continued to produce productions of the operas in repertory until 1982. In 1911, Helen Carte hired
5016:
2814:
5573:
5824:
5516:
3270:
1991:
in partnership with the D'Oyly Carte Opera Company, although it was not reported what role the latter company took in the producing team.
769:
previously rejected, and he now rejected the "lozenge plot" again. Gilbert eventually came up with a new idea and began work in May 1884.
6642:
1849:
in July. The press notices were good, particularly about the musical aspects of the new company; opinion was divided about the staging.
6806:
6637:
910:, the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the suit, but the partnership disbanded.
697:
985:, who published the sheet music to the Savoy operas. In 1893 the company produced the penultimate Gilbert and Sullivan collaboration,
894:
artistic good breeding, so to speak, expected from the principals, best know how great an advance has been made by Mr. D'Oyly Carte."
6674:
3360:
2050:
2231:
3857:
1164:
In 1906–07 Mrs. Carte staged a repertory season at the Savoy Theatre, with Gilbert returning to direct. The season, which included
784:
played by a cast of children, while waiting for the new work to be completed. This became the partnership's most successful opera,
6101:
3981:
3729:
3623:
3267:
Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan", pp. 113–48 at p. 118,
6659:
3797:
3245:
1204:. Afterwards, however, Mrs. Carte's health prevented her from staging more London seasons. She retired and leased the theatre to
5797:
592:
With profits from the success of the Gilbert and Sullivan operas and his concert and lecture agency (his talent roster included
5777:
4554:
In addition to the Savoy and Sadler's Wells, London seasons were at the Prince's Theatre (1956–57, 1958–59, and 1960–61); the
4438:
2541:
Carte's older son, Lucas, was a barrister and took no part in the family businesses. He died of tuberculosis in 1907, aged 34.
6366:
6347:
6328:
6192:
4529:
4494:
4459:
3313:
4017:
349:, a friend of both Gilbert and Sullivan. Instead of writing a piece for production by a theatre proprietor, as was usual in
6652:
6392:
4906:
4763:
5846:
2550:
The recording was issued under the "D'Oyly Carte" name, but in fact none of the singers on it were members of the company.
1013:. Despite the popularity of Barrie and Conan Doyle, the show was a flop, closing in July 1893 after only 51 performances.
5187:. The Gilbert and Sullivan Newsletter, No. 38, Autumn 1992, accessed 7 June 2010 for a digest of other critical comment.
1765:
The company visited Denmark in 1970, Rome in 1974, and gave its last American tours in 1976 and 1978. Its last tour, in
6450:
3204:"Supreme Court of Judicature, August 1 – Court of Appeal – Gilbert v The Comedy Opera Company Limited",
1460:
debuted in 1948. A return to the U.S. in 1947 was very successful, and the company resumed frequent visits to America.
3167:
6296:
6277:
6255:
6212:
6177:
6157:
6136:
6090:
6049:
6028:
6007:
5971:
5890:
5554:
5533:
3822:
3449:
3340:
2376:
1661:, who was at the company's musical helm from 1971 to 1979, conducted most of the performances, with Isidore Godfrey (
1533:
1781:
in 1875. Even after it closed, the company's productions continued to influence the productions of other companies.
6829:
2142:
After Grossmith left the company, the most notable players of his roles during the rest of Gilbert's lifetime were
3513:, Vol. 29, No. 3 (October 1977), pp. 320–332, The Johns Hopkins University Press (online by subscription to JSTOR)
2279:
Pratt's successor was John Reed, who served as principal comedian for two decades. Other stars from this era were
3502:
1894:
1083:
1208:, and the company did not perform in London again until 1919, although it continued to tour throughout Britain.
1113:, which ran for 213 performances. Neither Carte nor Sullivan lived to see the production of Sullivan and Hood's
2391:, also depicts the company, focusing on the events leading up to and through the composition and production of
2154:. During the Passmore era, principal players of the company included Brandram and Barrington, as well as tenor
162:
Some of the company's performers, over the decades, became stars of their day and often moved on to careers in
2974:
6796:
6443:
4875:
3816:
1770:
364:
132:
2031:
and had returned there throughout the theatre's 125-year history. In 2021 and 2022, the company co-produced
1256:
who had worked with Gilbert and Richard D'Oyly Carte on the original productions of the later Savoy operas.
222:
and adaptations of French operettas and opera bouffes that dominated the London musical stage at that time.
6265:
5479:
2205:
1924:
1899:
1790:
1236:
died in 1913, and Carte's son Rupert inherited the company. During World War I, he was away serving in the
670:
running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of
2200:
wrote to Workman in 1919 asking him to return to the company as principal comedian, but Workman declined.
1750:
called a "unique performance style, which may be summarised as a combination of good taste and good fun".
5359:
See D'Oyly Carte programme booklets from Sadler's Wells 1977–78 season and the Savoy Theatre 2002 season.
5337:
4308:
2040:
1802:
1654:
1486:(1948) for the company, created new settings and costumes for Bridget for half a dozen more productions:
6416:
5491:
1156:(with music by German, libretto by Hood), which ran for four months in early 1903 and then toured. When
849:) for a new theatre that Carte was constructing to present British grand opera. The new comic opera was
6647:
6420:
3868:(London: 1964), reproduced at The Gilbert and Sullivan Archive, 9 January 2005 accessed 12 October 2009
3384:
2327:(1951). It was broadcast in 1974 and included as the first track on the 1975 Flanders and Swann album,
2107:
Richard Temple. In the original New York City productions and British touring productions, the soprano
608:), Carte bought property along the Strand with frontage onto the Thames Embankment, where he built the
528:, Carte and his partners opened it in New York on 31 December 1879, prior to its 1880 London premiere.
78:, became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work,
5341:
286:). Carte himself was the musical director of this travelling company, which disbanded after the tour.
5305:
2509:
2417:
1907:
1842:
1384:
1253:
1077:
945:
872:
275:
1637:, and Bridget D'Oyly Carte each gave a short speech. A highlight of the season was a new staging of
1313:, who started with the touring company, then was Toye's assistant before becoming musical director.
634:
During the years when the Gilbert and Sullivan operas were being written, the company also produced
6854:
6839:
5901:
4272:, p. 65 and 1974 images of the same scene on the sleeve of D'Oyly Carte recording, Decca SKL 5188/9
2811:
2288:
1360:
designed by Ricketts and conducted by Sargent. Sheringham designed new productions that season for
1344:
1310:
1152:
932:
623:
and broke a glowing lightbulb before the audience to demonstrate the safety of the new technology.
416:
showed Carte, Gilbert and Sullivan that there was a future in family-friendly English comic opera.
5762:
371:, stayed with the company for almost 15 years. Two other longstanding members of the company were
6632:
6574:
6532:
6487:
2248:
1930:
1333:
1055:, in 1896, which ran for 123 performances and was Gilbert and Sullivan's only financial failure.
1042:
967:
839:
828:. The piece, though profitable, was a relative disappointment after the extraordinary success of
657:
524:
194:
187:
137:
123:
57:
642:
in London and its 100th performance in New York shows that, aside from these two productions of
6627:
5817:
5644:
5511:
5369:
4741:
2447:(1871), was a Christmas entertainment for a different management and made only a modest impact.
2355:
2284:
2197:
2024:
1706:
1551:
1215:
1146:
1067:
907:
812:
392:
111:
5184:
6709:
6080:
5880:
3441:
2412:
2116:
1325:
1103:
ran for only 50 performances. In 1899 the Savoy finally had a new success, with Sullivan and
559:
of the 1870s and '80s in England, part of the 19th-century European movement that emphasised
5919:
1593:. All thirteen surviving Gilbert and Sullivan operas were performed in chronological order.
1569:(1967). During the 1960s, the company gave five North American tours. A new stage director,
939:, which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and
387:
at the Opera Comique in 1878. As Grossmith wrote in 1888, "We are all a very happy family."
6466:
3620:
3274:
1618:
1041:
closed, the company toured the London suburbs, while Carte leased the Savoy Theatre to the
662:
355:
305:
41:
3357:
2216:, who is estimated to have portrayed the Mikado of Japan more than 3,000 times, contralto
2208:
was brought in to substitute. Other performers from this period include the mezzo-soprano
635:
8:
6741:
6426:
4559:
2892:
1868:
The new company's first three productions were broadly traditional in their staging. The
1685:, the regular D'Oyly Carte chorus was augmented by fourteen former stars of the company:
1642:
1292:
1045:. The theatre was dark during the summer of 1895, reopening in November for a revival of
951:
889:
884:
701:
company continued to, and still does, rent out band parts to companies around the world.
322:
219:
4009:, 31 December 1892, p. 3; and "Palace Theatre as Cinema. Stage Plays also to be Given",
6765:
6717:
6107:
5774:
4346:
3978:
3726:
3008:
2404:
s 2008 list of the 500 greatest movies of all time, created by polling 10,000 readers.
2316:
2269:
2209:
2147:
2016:
1730:
1698:
1321:
1316:
In 1917 the company made the first complete recording of a Gilbert and Sullivan opera,
1109:
1006:
650:, two companies touring with other Gilbert and Sullivan operas, a company touring with
438:
368:
4679:
3851:
2126:
1474:
Rupert died in 1948, leaving a strong company to his daughter Bridget. She soon hired
1372:(1929, with other designs contributed by Rumbold), and he later designed costumes for
500:
on Broadway, beginning in December 1879, also mounting American tours. Beginning with
329:
The first comic opera produced by the Comedy Opera Company was Gilbert and Sullivan's
229:. Needing a short piece to round out an evening's entertainment featuring the popular
6362:
6343:
6324:
6292:
6273:
6251:
6234:
6208:
6188:
6173:
6153:
6147:
6132:
6086:
6064:
6045:
6039:
6024:
6018:
6003:
5997:
5967:
5945:
5906:
5886:
5794:
5748:
4234:
3445:
2600:
2397:
2364:
2360:
2343:
2292:
2167:
1996:
1846:
1826:
1742:
1666:
1547:
1245:
982:
455:
230:
1809:
was its first musical director. In succeeding seasons, the company's productions of
1024:
715:
6773:
6757:
6539:
4999:
4435:
3675:
2692:
2623:
2608:
2243:
2225:
2213:
2112:
2059:
2054:
1967:
1467:
1412:
1284:
1257:
1115:
1089:
963:
652:
551:
505:
360:
4519:
4498:
4463:
4401:
3743:
3310:
2677:
1291:
The main company made a triumphant return to London for the 1919–20 season at the
1070:
as an assistant. Rupert assisted Mrs. Carte and Gilbert with the first revival of
824:, which opened in January 1887. It satirised and used elements of Victorian stock
335:, about a tradesmanlike London sorcerer. It opened in November 1877 together with
6733:
6588:
6525:
6504:
6482:
6430:
6397:
5868:
5833:
5828:
5801:
5781:
5561:
5520:
5312:
4910:
4767:
4563:
4555:
4533:
4442:
4315:
4021:
4014:
3985:
3861:
3826:
3804:
3733:
3627:
3506:
3364:
3344:
3317:
3252:
3171:
2982:
2918:
2818:
2667:
2515:
2443:
2408:
2268:, tenor Leonard Osborn (who later directed the company's productions), contralto
2171:
2143:
2130:
2120:
2108:
1774:
1570:
1388:
1300:
1034:
1019:
987:
927:
845:
628:
568:
446:
396:
372:
337:
244:
226:
163:
155:
119:
86:
65:
4903:
4779:
4771:
4756:
1490:(1952; settings only, most of the celebrated Ricketts costumes being retained),
692:
general. Cellier and Bridgeman wrote in 1914 that, prior to the creation of the
522:
In an effort to head off unauthorised American productions of their next opera,
235:
6664:
6595:
6581:
5406:(1999), in which the company's new release is described as "the most important
5395:
4800:
4682:, Interview with Sandford, c. 1972, at the Memories of the D'Oyly Carte website
4436:
Links to detailed descriptions of the various series of D'Oyly Carte recordings
2911:
2660:
2596:
2592:
2304:
2192:
2135:
2089:
2044:
1984:
1976:
1918:
1838:
1818:
1806:
1718:
1714:
1475:
1411:
Some performers, including Martyn Green, were already committed elsewhere, and
1095:
1051:
972:
936:
880:
868:
851:
605:
597:
342:
309:
301:
149:
127:
50:
6402:
1822:
752:
247:
together. On tour in 1871, Carte had conducted Sullivan's one-act comic opera
6823:
6778:
6749:
6511:
6477:
6124:
6068:
5242:
4111:
3388:
2887:
2457:
2256:
2252:
2187:
2104:
2082:
1992:
1890:
1798:
1726:
1690:
1634:
1625:, was played by Peter Pratt as Richard D'Oyly Carte, Sandford as Gilbert and
1515:
1353:
1329:
1296:
1205:
1133:
1120:
1029:
940:
684:
609:
593:
585:
435:
409:
350:
317:
255:
240:
100:
74:
61:
6308:, vol. VII, p. 23 (May 1953), London: The Gilbert and Sullivan Society.
5932:
5922:, The Gilbert and Sullivan Archive, 19 January 2012, accessed 31 August 2020
5650:
at The Gilbert and Sullivan Archive, 19 March 2005, accessed 4 November 2009
3461:
3066:
2179:
6553:
6518:
6238:
5346:
3164:
2604:
2588:
2339:
2280:
2273:
2265:
2260:
2235:
2221:
2217:
2175:
2163:
2155:
2151:
2100:
2020:
1702:
1694:
1686:
1658:
1452:, a protégé of Carte's daughter, Bridget, had designed a new production of
1449:
1400:
1396:
1249:
1222:
1099:(1899), as well as revivals of the Gilbert and Sullivan operas. Sullivan's
1002:
959:
804:
800:
740:
613:
556:
400:
346:
331:
313:
293:
208:
203:
115:
104:
96:
80:
3819:
3337:
3279:, ed. James Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971
2011:
each gave the production three out of five stars. The company co-produced
6701:
6622:
6612:
6076:
5993:
5935:, The Gilbert and Sullivan Archive, 24 June 2008, accessed 31 August 2020
4251:
2383:
1912:
1766:
1758:
1722:
1710:
1626:
1528:
1272:
were retained by all subsequent designers until 1982. In an interview in
1233:
1037:
and Sullivan. These ran for 102 and 97 performances, respectively. After
1010:
808:
693:
601:
380:
249:
212:
167:
69:
45:
37:
6387:
5858:
1573:, was hired in 1969, staying until 1978. Among his new productions were
135:, it suspended productions in 2003. With Scottish Opera, it co-produced
6560:
6435:
6270:
Gilbert & Sullivan – The Official D'Oyly Carte Picture History
4635:
4199:
Carte, Bridget D'Oyly. Foreword to Mander, Raymond and Joe Mitchenson,
3499:
2388:
2159:
2077:
series of roles in the original productions of the operas included the
1794:
1403:. In 1938 many company members participated in the Technicolor film of
1237:
1104:
997:
786:
688:
in association with J. C. Williamson in Australia, among other things.
198:
183:
143:
3007:
Biographical file for John D'Auban, list of productions and theatres,
2674:, Oxford University Press, September 2004, accessed 12 September 2008
216:
6567:
6407:
5706:
5438:
4320:
2925:, Oxford University Press, September 2004, accessed 12 September 2008
2788:
2368:
2300:
2183:
2093:
1392:
1305:
825:
820:
580:
560:
492:
304:
and formed the Comedy Opera Company in 1876 to produce more works by
289:
3480:, Volume XX no. 2, D'Oyly Carte Opera Trust, September 1981, pp. 4–6
1629:
as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of
1211:
897:
6546:
6020:
Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan
3381:
2714:
Ainger, pp. 108–109; Joseph (1994), p. 11; and Stedman, pp. 128–130
2505:
2078:
734:
721:
564:
539:
6204:
Shaw's Music – The Complete Musical Criticism of Bernard Shaw
5061:, 2 May 1988, p. 20; and Canning, Hugh. "Cambridge Theatre –
3740:, Oxford University Press, September 2004, accessed 11 April 2009
2291:
and elsewhere. When Reed left the company in 1979, his understudy
1557:
in 1966, and recorded for television broadcast its productions of
1463:
6725:
4309:"Patricia Leonard: principal contralto of the D’Oyly Carte opera"
3069:, John Lane, 1930, accessed 10 March 2009. But see Ainger, p. 160
2086:
1733:'s Jubilee Year, the company gave a Royal Command Performance of
1550:, and also recorded a number of other Sullivan pieces. It made a
949:, which played through the summer of 1892. Grundy and Sullivan's
6382:
6169:
The D'Oyly Carte Opera Company, 1875–1982: An Unofficial History
3866:
Tit-Willow; or Notes and Jottings on Gilbert and Sullivan Operas
3606:
3604:
3529:
Bettany, unnumbered page (there are no page numbers in the book)
3444:, Issue 1165, p. 38, Fairleigh Dickinson University Press, 2000
2975:"W. S. Gilbert: Antiquarian Authenticity and Artistic Autocracy"
2178:. During Workman's tenure, principal players included contralto
1280:
1059:
turned out to be Gilbert and Sullivan's last big hit, and after
646:, Carte was simultaneously producing two companies touring with
511:
5253:, 22 Monday, March 1993; and Sutcliffe, Tom. "Styx for Kicks",
4566:, 1981–82). See Rollins and Witts, pp. 180–186 and supplements.
3347:, The Wolanski Foundation, January 2000, accessed 11 April 2009
3182:, 10 August 1879, p. 5; and "The Fracas at the Opera Comique",
2015:
with Scottish Opera on tour from May to July 2016, directed by
1805:
was appointed the revived company's first general manager, and
1136:
in 1901 and oversaw his management of the company's revival of
430:
354:
did not command high fees, and to whom they could teach a more
267:
6408:
Ralph Horner's Reminiscences of the D'Oyly Carte Opera Company
4404:
at The Gilbert and Sullivan Archive, accessed 20 November 2009
1845:
on 29 April 1988, and, after touring, opened in London at the
1565:(1973). It also supplied the soundtrack for a cartoon film of
1531:. The company cooperated with the production of the 1953 film
491:
up in America alone, but because American law then offered no
270:, Ireland in September 1875, while managing the first tour of
6231:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas
6041:
The New York Public Library Desk Reference – 3rd Edition
3601:
2347:
2097:
1753:
543:
21:
2513:, which held that position until the record-breaking run of
312:. In February 1877 Carte engaged a novice Scottish actress,
6058:
4536:, the Gilbert and Sullivan Archive, accessed 17 August 2019
508:
company to produce the works in Australia and New Zealand.
6388:
Official D'Oyly Carte Opera Company USA Foundation Website
5837:, issue 864, 19 April 1940, p. 18, accessed 10 August 2020
5538:
review at Theatre Royal, Glasgow – 'visually resplendent'"
4495:"Information about the 1929–20 season and the new designs"
4460:"Programme with photos of the new theatre and productions"
4024:
at the Arthur Lloyd theatre site, accessed 13 October 2009
3472:
3470:
1934:(1997). Of the Savoy operas, the new company never staged
1793:, who later became chairman of the board of trustees, the
1649:
was given as a concert performance, with narration by the
1180:, was a sensation and led to another in 1908–09 including
1140:
and the production of several new comic operas, including
391:
including staging, design and movement. Gilbert hired the
3311:"The J. C. Williamson Gilbert and Sullivan Opera Company"
1650:
454:
music in several promenade concerts that he conducted at
72:
to round out an evening's entertainment. When that work,
3442:"At the Temple of Art: the Grosvenor Gallery, 1877–1890"
2224:, soprano Elsie Griffin and baritones Leo Sheffield and
1801:
British Midland Airways (of which Bishop was chairman).
5948:, HealthyPages, 22 August 2004, accessed 10 August 2020
3467:
6403:
Links to the various series of D'Oyly Carte recordings
6340:
D'Oyly Carte: The Decline and Fall of an Opera Company
4284:
Bradley (2005), p. 30. See also chapters four and six.
3462:"The Life and Reminiscences of Jessie Bond", Chapter 6
3067:"The Life and Reminiscences of Jessie Bond", Chapter 4
479:
The Comedy Opera Company opened a rival production of
341:, a curtain-raiser with music by Sullivan's assistant
5564:, D'Oyly Carte Opera Company, accessed 10 August 2020
5441:, D'Oyly Carte Opera Company, accessed 10 August 2020
5177:"Too little bold and witty are we – Comic Opera"
5044:
Lisle, Nicola. "When the wheels came off the Carte",
4349:
Gilbert & Sullivan Opera, A History and a Comment
4264:
See, for instance, 1882 images of the Act II trio in
3926:, 11 October 1893, reprinted in Laurence, pp. 975–976
2504:
The longest-running piece of musical theatre was the
1677:) as guest conductors. Princes Philip and Andrew saw
375:, who started in D'Oyly Carte touring companies with
6264:
6248:
W. S. Gilbert, A Classic Victorian & His Theatre
6228:
6217:
5795:"Flanders & Swann's "In the D'Oyly Cart" (1974)"
3977:, p. vii, New York: Oakapple Press, 2009; linked at
3973:
Shepherd, Marc. "Introduction: Historical Context",
2441:
Gilbert and Sullivan's only previous collaboration,
2295:
took over until the closure of the company in 1982.
6291:. London: Chappell in association with A. Deutsch.
6289:
Final curtain: The last Gilbert and Sullivan Operas
5247:"All down to a hell of a good snigger – Opera"
5160:"Light-arted operatic fare a la Carte – Opera"
4989:
Joseph (1994), p. 358; and Wilson and Lloyd, p. 208
3371:(2000), Edwardsamuels.com, accessed 16 October 2009
2528:Craven had earlier designed the sets for Act II of
6398:Memories of the D'Oyly Carte Opera Company website
5784:, D'Oyly Carte Opera Company, accessed 6 June 2010
5555:"125th Anniversary of Wolverhampton Grand Theatre"
5315:. D'Oyly Carte Opera Company, accessed 7 June 2010
4005:, 12 December 1892, p. 7; "The Theatres in 1892",
2858:Ainger, pp. 110, 119–20 and 130–31; Jacobs, p. 109
563:values over moral or social themes in literature,
215:that would appeal to families, in contrast to the
4402:Information about the 1919–20 D'Oyly Carte season
2825:website, 27 August 2001, accessed 14 October 2009
2336:A "G. & S." Cocktail; or, A Mixed Savoy Grill
1958:, stating that they lacked box-office potential.
898:The Carpet Quarrel and the end of the partnership
815:, designed all the D'Oyly Carte sets until 1893.
471:to Gilbert and Sullivan after the initial run of
6821:
6059:Cellier, François; Cunningham Bridgeman (1914).
5592:
5590:
4255:was cut and arranged into a short curtain raiser
3271:Papers Presented at the International Conference
3255:, StageBeauty.net (2007), accessed 10 March 2009
2423:
2310:
40:company that, from the 1870s until 1982, staged
6412:New York Public Library for the Performing Arts
1613:. Before the first of the four performances of
5133:Kenyon, Nicholas. "Pulsating pirate version",
5078:Ratcliffe, Michael. "Through a glass darkly",
3798:"Longest Running Plays in London and New York"
3670:
3668:
3666:
3358:"International Copyright Relations: 1790–1891"
3246:"Longest Running Plays in London and New York"
744:, opened in January 1884. Carte soon saw that
6451:
6393:Who Was Who in the D'Oyly Carte Opera Company
6250:. Oxford; New York: Oxford University Press.
5587:
5323:
5321:
5290:"Joie de vivre falls in the pit – Opera"
5183:, 10 April 1991. See also, Walters, Michael.
5031:
5029:
4915:Who Was Who in the D'Oyly Carte Opera Company
4823:
4821:
4819:
4817:
4691:"The Lasting Charm of Gilbert and Sullivan",
4665:
4663:
4661:
4583:
4581:
4361:
4359:
4292:
4290:
4280:
4278:
4239:Who Was Who in the D'Oyly Carte Opera Company
4034:
4032:
4030:
2823:Who Was Who in the D'Oyly Carte Opera Company
1597:was given four times, as a curtain raiser to
704:
444:The next Gilbert and Sullivan collaboration,
6850:1982 disestablishments in the United Kingdom
6106:. Bristol/London: Arrowsmith. Archived from
5964:Gilbert and Sullivan – A Dual Biography
5763:"Obituary: Welsh Baritone Eric Roberts Dies"
5023:magazine, 8 March 1982, accessed 7 July 2010
5017:1982 "Music: Final Curtain for D'Oyly Carte"
4520:Illustrations of the Sheringham designs for
4484:Savoy Theatre programme note, September 2000
4376:
4374:
4097:
4095:
4093:
4091:
3656:
3654:
3585:
3583:
3581:
3393:Cardozo Arts & Entertainment Law Journal
3296:
3294:
2951:
2949:
2845:
2843:
612:in 1881. He chose the name in honour of the
6670:People associated with Gilbert and Sullivan
6643:International Gilbert and Sullivan Festival
6410:, held by the Billy Rose Theatre Division,
6383:Official D'Oyly Carte Opera Company Website
5999:The Complete Annotated Gilbert and Sullivan
5628:Lytton – Gilbert and Sullivan's Jester
5154:
5152:
4626:Rollins and Witts, pp. 171–179 and VII–VIII
4304:
4302:
3663:
3324:, 12 November 2001, accessed 2 October 2009
3263:
3261:
3124:
3122:
3120:
2906:
2904:
2902:
2587:Other singers in these recordings included
2146:(principal comedian from 1894 to 1903) and
764:of Gilbert and Sullivan in the 1880s. When
6638:Cultural influence of Gilbert and Sullivan
6458:
6444:
6152:. Waltham, MA: Brandeis University Press.
5946:"Theatre reaches out to autistic children"
5695:Rollins and Witts, pp. 159–163 and 171–175
5318:
5026:
4814:
4658:
4578:
4356:
4287:
4275:
4027:
3829:, Musicals101.com, accessed 8 October 2009
3525:
3523:
3521:
3519:
3500:"The London West End Theatre in the 1890s"
3395:, Vol. 24 (2007), accessed 16 October 2009
3332:
3330:
2874:Burgess, Michael. "Richard D'Oyly Carte",
2870:
2868:
2866:
2864:
2801:Ainger, pp. 111, 157, 169–171, 184 and 193
2035:and a staged but concert-dress version of
1975:afloat and turned to private funding from
1784:
1540:
1444:were recreated shortly after the war, and
772:The company produced the first revival of
698:National Operatic and Dramatic Association
225:In early 1875 Carte was managing London's
6845:1875 establishments in the United Kingdom
6221:A Picture History of Gilbert and Sullivan
6099:
5910:, 3 October 2008, accessed 10 August 2020
5091:Canning, Hugh. "Cambridge Theatre –
4371:
4353:(1920) London: F. V. White & Co. Ltd.
4201:A Picture History of Gilbert and Sullivan
4088:
3969:
3967:
3937:"Approximately £37,818.60 in 2006 prices"
3837:
3835:
3651:
3630:at the D'Oyly Carte Opera company website
3578:
3291:
2988:
2946:
2840:
1987:produced a British touring production of
1761:honouring the Carte family and colleagues
1633:in 1875; afterwards, the prime minister,
1407:produced and conducted by Geoffrey Toye.
1252:. He also commissioned new costumes from
995:was being prepared, the company produced
636:operas by other composer–librettist teams
6465:
6218:Mander, Raymond; Joe Mitchenson (1962).
6201:
6075:
5920:Player's Cigarette Cards (1925 and 1927)
5523:, Scottish Opera, accessed 22 March 2016
5299:
5149:
5118:"Back with a new-found zip – Opera"
5116:, 13 September 1989; and Higgins, John.
4299:
3768:
3619:Bradley (2005), pp. 30 and 68; see also
3258:
3117:
2899:
2338:, written by Lauri Wylie, with music by
2230:
2125:
2049:
1752:
1617:, a specially written curtain raiser by
1462:
1456:first seen in January 1940, and his new
1343:
1339:
1279:
1210:
1063:, the two men never collaborated again.
958:
857:
751:
714:
579:
510:
429:
288:
182:
20:
6660:List of compositions by Arthur Sullivan
6286:
6245:
6016:
5992:
5980:
5490:, 16 May 2013; and Jones, Sarah Urwin.
5275:Ratcliffe, Michael. "Operetta: Seeya",
4844:
4842:
3807:, Stage Beauty, accessed 30 August 2020
3738:Oxford Dictionary of National Biography
3686:, 28 June 1997, accessed 30 August 2020
3516:
3464:, John Lane, 1930, accessed 6 June 2010
3327:
2923:Oxford Dictionary of National Biography
2861:
2672:Oxford Dictionary of National Biography
2562:re-entered the repertory in July 1947,
2066:
1729:and Gillian Humphreys. In 1977, during
419:
6835:Gilbert and Sullivan performing groups
6822:
6356:
6337:
6229:Rollins, Cyril; R. John Witts (1961).
6182:
6166:
6123:
6037:
5961:
4904:Biographies of all of these performers
3964:
3832:
3783:Jones, Brian. "Japan in London 1885",
1860:The two operas presented in 1989 were
871:honoured the company by calling for a
6439:
6318:
6145:
6129:Arthur Sullivan: A Victorian Musician
6063:. Boston: Little, Brown and Company.
6061:Gilbert and Sullivan and Their Operas
6023:. New York: Oxford University Press.
6002:. New York: Oxford University Press.
5988:. London: D'Oyly Carte Opera Company.
5902:"The 500 Greatest Movies of All Time"
3820:"G&S101: G&S Story: Part III"
2655:
2653:
2651:
2649:
2647:
2645:
2643:
2420:, a play on the name of the company.
1645:), its first revival by the company.
1126:
549:The next Gilbert and Sullivan opera,
274:, Carte met an owner of the theatre,
5006:, 16 July 2005, accessed 7 July 2010
4839:
4558:(1963–64, 1965–66 and 1967–68); the
3787:, issue 22, Winter 2007, pp. 686–696
2977:, Winthrop University, October 2002
2881:
2731:
2729:
1841:. The company made its debut at the
1514:in 1954 was designed by James Wade.
1348:1921 cartoon: D'Oyly Carte audiences
1075:comparatively short runs, including
902:On 22 April 1890, during the run of
412:played the melodies. The success of
99:and companion pieces, mostly at the
6802:
6423:Theatre and Performance collections
6272:. London: Weidenfeld and Nicolson.
6131:. Oxford: Oxford University Press.
6082:W. S. Gilbert: His Life and Letters
5966:. Oxford: Oxford University Press.
5451:"Scottish Opera Sails into Town on
5350:, 2 July 2002, accessed 6 June 2010
3796:Traubner, p. 175; and Gillan, Don.
3382:"The Twilight of the Opera Pirates"
2943:Jacobs, p. 111; Ainger, pp. 133–134
2776:Nineteenth Century Theatre Research
2661:"Carte, Richard D'Oyly (1844–1901)"
2342:, premiered on 9 March 1925 at the
484:the works of Gilbert and Sullivan.
13:
6427:D'Oyly Carte Opera Company Archive
6312:
5933:"Gilbert & Sullivan Postcards"
5806:A Gilbert and Sullivan Discography
5404:A Gilbert and Sullivan Discography
5394:See, for example, Shepherd, Marc.
5110:"Mask well sustained – Opera"
5004:A Gilbert and Sullivan Discography
4809:A Gilbert and Sullivan Discography
4788:A Gilbert and Sullivan Discography
4447:A Gilbert and Sullivan Discography
4069:Tillett, Selwyn. "Jane Annie", in
3369:The Illustrated Story of Copyright
3322:A Gilbert and Sullivan Discography
3001:
2994:"Mr. D'Auban's 'Startrap' Jumps".
2705:The Observer, 23 August 1874, p. 3
2640:
1995:played Major-General Stanley, and
1970:, the orchestra was even smaller:
14:
6866:
6376:
6206:. vol. II, London: Max Reinhardt.
5584:, Scottish Opera, 13 January 2022
5472:, Theatre Royal, Glasgow, review"
5227:"Going down – Arts Briefing"
4704:Wilson and Lloyd, pp. 151 and 154
3165:"The Fracas at the Opera Comique"
2726:
2578:was not revived until April 1971.
2377:The Story of Gilbert and Sullivan
1534:The Story of Gilbert and Sullivan
1260:redesigned sets and costumes for
818:The partnership's next opera was
197:, a musician and ambitious young
6801:
6792:
6791:
6675:Works about Gilbert and Sullivan
5983:The D'Oyly Carte Centenary Book
5938:
5925:
5913:
5895:
5874:
5852:
5840:
5811:
5787:
5768:
5755:
5746:Jacobs, Arthur. "D'Oyly Carte",
5740:
5731:
5722:
5713:
5698:
5689:
5680:
5671:
5662:
5653:
5637:
5620:
5611:
5602:
5582:tours to London's Hackey Empire"
5567:
5547:
5526:
5505:
5460:
5444:
5431:
5422:
5413:
5388:
5379:
5362:
5353:
5330:
5282:
5269:
5260:
5236:
5220:
5207:
5190:
5169:
5140:
5127:
5102:
5085:
5072:
5051:
5038:
5035:Bradley (2005), pp. 53–54 and 63
5009:
4992:
4983:
4974:
4965:
4956:
4947:
4938:
4929:
4920:
4897:
4894:, Vol. 14, No. 2, September 1975
4885:
4868:
4851:
4830:
4793:
4749:
4734:
4725:
4716:
4707:
4698:
4685:
4672:
4649:
4629:
4620:
4611:
4599:
4590:
4569:
4548:
4539:
4513:
4487:
4478:
4452:
4429:
4420:
4407:
4395:
4383:
4340:
4333:Obituary of Lucas D'Oyly Carte,
4327:
4258:
4244:
4227:
4215:
4206:
4193:
4184:
4175:
4166:
4157:
4148:
4136:
4127:
4118:
4104:
4079:
4063:
4054:
4041:
3995:
3990:The Gilbert and Sullivan Archive
3955:
3929:
3922:"Utopian Gilbert and Sullivan",
3916:
3907:
3850:Walmisley, Guy H. and Claude A.
3684:The Gilbert and Sullivan Archive
2890:. "The Late Mrs. D'Oyly Carte",
2613:
2581:
2553:
2544:
2535:
2123:became particularly well known.
1066:In 1894 Carte had hired his son
126:inherited the company and hired
6233:. London: Michael Joseph, Ltd.
6044:. Macmillan General Reference.
5818:"Theatrical Memories including
5626:Murray, Roderick. "A review of
4545:Rollins and Witts, pp. VII–VIII
3898:
3889:
3880:
3871:
3844:
3810:
3790:
3777:
3759:
3750:
3719:
3710:
3698:
3689:
3642:
3633:
3613:
3592:
3569:
3554:
3545:
3532:
3492:
3483:
3454:
3434:
3425:
3416:
3407:
3398:
3374:
3350:
3303:
3282:
3238:
3229:
3220:
3211:
3198:
3189:
3158:
3149:
3140:
3131:
3108:
3099:
3090:
3081:
3072:
3059:
3050:
3041:
3032:
3023:
3014:
2967:
2958:
2937:
2928:
2852:
2828:
2804:
2795:
2781:
2760:
2751:
2622:had costume and set designs by
2522:
2498:
2481:
2472:
2463:
1609:and as an afterpiece following
1084:The Grand Duchess of Gerolstein
803:, the designer of the sets for
6342:. Abingdon, Oxion: Routledge.
6202:Laurence, Dan H., ed. (1989).
6103:A Society Clown: Reminiscences
5931:Cannon, John and Brian Jones.
5719:Rollins and Witts, pp. 176–183
5677:Rollins and Witts, pp. 164–170
5496:at the Theatre Royal, Glasgow"
5213:Maddocks, Fiona. "Classical",
5000:"D'Oyly Carte: The Last Night"
4575:Rollins and Witts, pp. 154–182
4212:Joseph (1994), pp. 138 and 186
4163:Rollins and Witts, pp. 111–127
2778:, 12, December 1984, pp. 39–54
2742:
2717:
2708:
2699:
2684:
2450:
2435:
2174:and his sister, mezzo-soprano
1681:. In the final performance of
862:Touring advertisement, c. 1890
1:
5849:, David B. Lovell, bookseller
5686:Rollins and Witts, pp. XIV–XV
5478:17 May 2013; Molleson, Kate.
4013:, 31 January 1921, p. 8; and
3785:W. S. Gilbert Society Journal
3610:Cellier and Bridgeman, p. 394
3598:Cellier and Bridgeman, p. 393
3575:Joseph (1994), pp. 81 and 163
2633:
2424:Notes, references and sources
2311:References in popular culture
2019:and starring Suart, Sharatt,
1506:(1961; ladies' costumes) and
546:, organised by Helen Lenoir.
178:
6323:. Unicorn Publishing Group.
6306:Gilbert and Sullivan Journal
5668:Wilson and Lloyd, pp. 90–112
5457:, Scottish Opera, April 2013
5370:"Tattered and tired Pirates"
5057:Kelly, Richard. "lolanthe",
4145:obituary, 4 April 1901, p. 8
4085:Rollins and Witts, pp. 14–15
3744:UK public library membership
2678:UK public library membership
1900:Grand Theatre, Wolverhampton
1510:(1961). A new production of
666:in America, a production of
7:
5765:, Opera Wire, 20 April 2021
5617:Wilson and Lloyd, pp. 59–87
5608:Wilson and Lloyd, pp. 19–46
4241:, accessed 21 December 2009
4203:, Vista Books, London, 1962
4190:Wilson and Lloyd, pp. 83–87
4051:, 13 June 1894, pp. 373–374
3511:Educational Theatre Journal
3422:Rollins and Witts, pp 16–19
2041:State Opera South Australia
515:1881 theatre programme for
10:
6871:
6648:W. S. Gilbert bibliography
6618:D'Oyly Carte Opera Company
6171:. London: Bunthorne Books.
6100:Grossmith, George (1888).
5981:Bettany, Clemence (1975).
5955:
5728:Joseph (1994), pp. 311–343
4655:Joseph (1994), pp. 273–274
4449:, accessed 10 January 2010
4073:, 1993 centenary issue on
3841:Rollins and Witts, p. VIII
3727:"Sullivan, Arthur Seymour"
3476:"100 Electrifying Years",
3338:"J. C. Williamson Limited"
2912:"Carte, Helen (1852–1913)"
2690:"Our Representative Man",
2413:Player's cigarette company
1641:(later given again at the
173:
68:to collaborate on a short
36:is a professional British
34:D'Oyly Carte Opera Company
6787:
6693:
6605:
6496:
6473:
6319:Kehoe, Elisabeth (2022).
6268:; Frederic Lloyd (1984).
6246:Stedman, Jane W. (1996).
6146:Jones, John Bush (2003).
5704:"Obituary: Peter Pratt",
5385:Bradley (2005), pp. 63–67
5266:Bradley (2005), pp. 59–60
5146:Bradley (2005), pp. 56–57
5048:, 17 February 2007, p. 12
4980:Bradley (2005), pp. 49–50
4944:Bradley (2005), pp. 31–34
4926:Bradley (2005), pp. 30–31
4876:Kenneth Sandford obituary
4801:"The Halas and Batchelor
4743:Decca Classical 1929–2009
4617:Rollins and Witts, p. 164
4562:(1971 and 1975); and the
4417:, 22 September 1926, p. 8
4314:15 September 2011 at the
4047:"The Savoyards on Tour",
3404:Bradley (1996), pp. 86–87
2696:, 10 October 1874, p. 151
2510:Les Cloches de Corneville
2395:. The film was ranked on
2334:A one-act parody, called
1908:Orpheus in the Underworld
1843:Sunderland Empire Theatre
1436:. The old productions of
1268:(1929). His costumes for
908:Royal English Opera House
873:Royal Command Performance
383:who joined the group for
266:At the Theatre Royal, in
6417:The D'Oyly Carte Archive
6079:; Grey, Rowland (1923).
5962:Ainger, Michael (2002).
5861:A "G. & S." Cocktail
5800:26 December 2008 at the
5752:, September 1988, p. 471
5737:Wilson and Lloyd, p. 213
5710:, 9 February 1995, p. 30
5659:Wilson and Lloyd, p. 125
5376:, 30 December 1998, p. 2
5311:7 September 2005 at the
4827:Wilson and Lloyd, p. 178
4746:. Retrieved 25 May 2020.
4713:Wilson and Lloyd, p. 175
4695:, 14 February 1957, p. 5
4669:Wilson and Lloyd, p. 154
4608:, 9 September 1939, p. 9
4587:Wilson and Lloyd, p. 128
4337:, 22 January 1907, p. 12
4133:Rollins and Witts, p. 18
4124:Rollins and Witts, p. 17
4071:Sullivan Society Journal
3756:Joseph (1994), pp. 18–19
3217:Ainger, pp. 171 and 175.
2985:, accessed 26 March 2008
2973:Vorder Bruegge, Andrew.
2878:, January 1975, pp. 7–11
2817:3 September 2006 at the
2766:McElroy, George. "Whose
2739:, 2 September 1871, p. 6
2428:
2039:with Scottish Opera and
1866:The Pirates of Penzance.
1757:Planter in front of the
1158:A Princess of Kensington
1153:A Princess of Kensington
6830:British opera companies
6575:The Yeomen of the Guard
6533:The Pirates of Penzance
5494:The Pirates of Penzance
5482:The Pirates of Penzance
5470:The Pirates of Penzance
5410:recording made to date"
5279:, 26 March 1995, p. C12
5217:, 5 October 1997, p. 73
5175:Nightingale, Benedict.
4780:"The 1965 D'Oyly Carte
4772:"The 1973 D'Oyly Carte
4757:"The 1966 D'Oyly Carte
4426:Rollins and Witts, p. X
4392:, 24 August 1919, p. 10
4380:Wilson and Lloyd, p. 90
4365:Joseph (1994), pp. 160
4101:Wilson and Lloyd, p. 52
4020:25 January 2010 at the
3774:Wilson and Lloyd, p. 13
3542:, 11 October 1881, p. 8
3363:28 October 2008 at the
3343:3 December 2008 at the
3316:25 January 2010 at the
3195:Rollins and Witts, p. 6
2566:in the 1947/48 season,
2491:, favourably reviewing
2456:The composer's brother
1989:The Pirates of Penzance
1931:The Count of Luxembourg
1835:The Yeomen of the Guard
1785:Revivals of the company
1541:Later years and closing
1454:The Yeomen of the Guard
1366:The Pirates of Penzance
1072:The Yeomen of the Guard
1049:. This was followed by
1043:Carl Rosa Opera Company
840:The Yeomen of the Guard
782:The Pirates of Penzance
732:, the company produced
584:Original facade of the
525:The Pirates of Penzance
138:The Pirates of Penzance
16:British theatre company
6287:Wolfson, John (1976).
6224:. London: Vista Books.
6149:Our Musicals Ourselves
5867:30 August 2020 at the
5827:30 August 2020 at the
5560:30 August 2020 at the
5396:"The New D'Oyly Carte
5198:"D'Oyly Carte to move"
5137:, 16 April 1989, p. 43
4680:"The Ones that I Like"
4413:Carte, Rupert D'Oyly.
4001:"The Palace Theatre",
3992:, accessed 7 July 2009
3860:1 October 2009 at the
3825:5 January 2010 at the
3186:, 13 August 1879, p. 8
3056:Bradley (1996), p. 116
2998:, 17 April 1922, p. 17
2917:30 August 2020 at the
2666:30 August 2020 at the
2570:in November 1948, and
2323:(1948) and revived in
2285:English National Opera
2239:
2139:
2063:
2025:Rebecca de Pont Davies
1762:
1707:Elizabeth Nickell-Lean
1471:
1349:
1288:
1218:
977:
863:
760:
725:
589:
578:
519:
441:
297:
190:
29:
6710:The Sapphire Necklace
6361:. London: Routledge.
6357:Seeley, Paul (2019).
6338:Seeley, Paul (2021).
6183:Joseph, Tony (2007).
6167:Joseph, Tony (1994).
6120:Accessed 9 March 2008
6038:Fargis, Paul (1998).
6017:Bradley, Ian (2005).
5780:26 April 2009 at the
5519:29 April 2016 at the
5428:Bradley (2005), p. 68
5419:Bradley (2005), p. 69
5327:Bradley (2005), p. 62
5099:, 14 July 1988, p. 17
5082:, 17 July 1988, p. 40
5069:, 14 July 1988, p. 17
4971:Bradley (2005), p. 45
4962:Bradley (2005), p. 42
4953:Bradley (2005), p. 52
4935:Bradley (2005), p. 31
4909:24 March 2019 at the
4865:, 5 March 1971, p. 10
4848:Bradley (2005), p. 40
4836:Joseph (2007), p. 129
4731:Bradley (2005), p. 38
4722:Bradley (2005), p. 29
4646:, 2 April 1971, p. 10
4596:Joseph (1994), p. 246
4296:Bradley (2005), p. 61
4181:Joseph (1994), p. 146
4172:Joseph (1994), p. 138
4154:Joseph (1994), p. 133
4038:Joseph (1994), p. 111
3626:17 April 2009 at the
3589:Bradley (2005), p. 25
3538:"The Savoy Theatre",
3269:Gilbert and Sullivan
3208:, 2 August 1879, p. 4
2964:Grossmith, Chapter VI
2735:"Public Amusements",
2307:and Simon Butteriss.
2234:
2129:
2053:
1756:
1667:Sir Charles Mackerras
1470:'s 1926 Mikado design
1466:
1347:
1340:The new Savoy Theatre
1287:cover, 1919–20 season
1283:
1214:
1123:completed the score.
962:
861:
755:
718:
583:
573:
514:
504:, Carte licensed the
433:
292:
186:
24:
6633:Bridget D'Oyly Carte
6488:Richard D'Oyly Carte
6467:Gilbert and Sullivan
6359:Richard D'Oyly Carte
5820:A 'G AND S' Cocktail
5761:Salazar, Francisco.
5257:21 April 1993, p. A6
4766:9 March 2019 at the
4441:4 March 2008 at the
4270:Mander and Michenson
3984:20 June 2009 at the
3803:13 June 2020 at the
3732:2 April 2013 at the
3716:Joseph (1994), p. 27
3676:"The Carpet Quarel (
3551:Dark and Grey, p. 85
3489:Joseph (1994), p. 79
3275:University of Kansas
3251:13 June 2020 at the
3170:23 July 2011 at the
3128:Joseph (1994), p. 18
3087:Joseph (1994), p. 17
2896:, 10 May 1913, p. 19
2723:Joseph (1994), p. 11
2081:Rutland Barrington,
2067:Principal performers
1771:English Arts Council
1619:William Douglas-Home
1334:Bridget D'Oyly Carte
660:) a company touring
306:Gilbert and Sullivan
195:Richard D'Oyly Carte
188:Richard D'Oyly Carte
133:English Arts Council
84:(1877), followed by
60:asked the dramatist
58:Richard D'Oyly Carte
42:Gilbert and Sullivan
6628:Rupert D'Oyly Carte
6187:. Bunthorne Books.
6085:. Ayer Publishing.
5882:I'd Rather Be Right
5630:by Brian Jones" in
5476:The Daily Telegraph
5338:Billington, Michael
5296:, 21 September 1995
5185:"Gilbertian Gossip"
4882:, 23 September 2004
4874:Forbes, Elizabeth.
4560:Royal Festival Hall
4532:27 May 2008 at the
4233:Stone, David (ed).
3765:Ainger, pp. 230–233
3707:, 27 May 1878, p. 6
3695:Ainger, pp. 225–226
3648:Ainger, pp. 217–219
3505:9 June 2016 at the
3413:Ainger, pp. 180–181
3391:. Papers.ssrn.com,
3387:7 December 2013 at
3300:Ainger, pp. 182–183
3155:Stedman, pp. 170–71
3146:Ainger, pp. 170–172
3137:Ainger, pp. 162–167
3105:Ainger, pp. 165–167
3047:Ainger, pp. 141–148
3038:Jacobs, pp. 113–114
3029:Ainger, pp. 147–148
2981:10 May 2011 at the
2837:, 4 July 1876, p. 6
2770:; or, When Did the
2574:in September 1954.
2356:I'd Rather Be Right
2198:Rupert D'Oyly Carte
2001:The Daily Telegraph
1817:were nominated for
1737:at Windsor Castle.
1643:Royal Festival Hall
1216:Rupert D'Oyly Carte
811:productions at the
296:, later Helen Carte
25:Theatre poster for
6766:The Rose of Persia
6718:The Contrabandista
6321:Queen of the Savoy
5985:(souvenir booklet)
5885:, Libretto, p. 22
5596:Wilson and Lloyd,
5553:Pringle, Matthew.
5437:Pringle, Matthew.
5336:See, for example,
5124:, 7 September 1989
5108:Pettitt, Stephen.
4324:, 22 February 2010
4015:The Palace Theatre
3674:Crowther, Andrew.
3561:250th Anniversary
3309:Morrison, Robert.
3009:The Theatre Museum
2812:Biography of Carte
2361:Rodgers & Hart
2359:, with a score by
2321:Oranges and Lemons
2317:Flanders and Swann
2272:and mezzo-soprano
2270:Ann Drummond-Grant
2240:
2210:Nellie Briercliffe
2148:Charles H. Workman
2140:
2119:and bass-baritone
2064:
2017:Martin Lloyd-Evans
1791:Sir Michael Bishop
1763:
1741:principal soprano
1731:Queen Elizabeth II
1472:
1350:
1326:His Master's Voice
1322:Gramophone Company
1289:
1285:Souvenir programme
1219:
1127:Early 20th century
1119:(1901), for which
1110:The Rose of Persia
1007:Arthur Conan Doyle
978:
913:Sullivan's opera,
864:
780:, and matinees of
761:
726:
656:(co-produced with
590:
557:Aesthetic movement
520:
442:
439:souvenir programme
369:Rutland Barrington
298:
191:
118:and the conductor
30:
6815:
6814:
6685:Performing groups
6368:978-1-351-04589-6
6349:978-0-367-61049-4
6330:978-1-914-41418-3
6194:978-0-9507992-8-5
6110:on 1 October 2009
5847:Photo of libretto
5749:The Musical Times
5466:Nickalls, Susan.
5233:, 8 November 1991
4522:Pinafore, Pirates
4222:Rollins and Witts
3742:(subscription or
3621:the services page
3440:Denney, Colleen.
3356:Samuels, Edward.
3184:The Leeds Mercury
2910:Stedman, Jane W.
2835:Liverpool Mercury
2737:Liverpool Mercury
2676:(subscription or
2601:Valerie Masterson
2365:George S. Kaufman
2344:London Hippodrome
2329:And Then We Wrote
2293:James Conroy-Ward
2168:Florence St. John
2096:Rosina Brandram,
1999:played Frederic.
1997:Nicholas Sharratt
1925:La Vie parisienne
1847:Cambridge Theatre
1797:City Council and
1743:Valerie Masterson
1717:, Cynthia Morey,
1246:George Sheringham
970:after failure of
946:The Vicar of Bray
302:financial backers
300:Carte found four
64:and the composer
6862:
6805:
6804:
6795:
6794:
6774:The Emerald Isle
6758:The Beauty Stone
6460:
6453:
6446:
6437:
6436:
6372:
6353:
6334:
6302:
6283:
6261:
6242:
6225:
6207:
6198:
6172:
6163:
6142:
6119:
6117:
6115:
6096:
6072:
6055:
6034:
6013:
5989:
5977:
5949:
5944:Lewis, Barbara.
5942:
5936:
5929:
5923:
5917:
5911:
5899:
5893:
5878:
5872:
5856:
5850:
5844:
5838:
5815:
5809:
5793:Shepherd, Marc.
5791:
5785:
5772:
5766:
5759:
5753:
5744:
5738:
5735:
5729:
5726:
5720:
5717:
5711:
5702:
5696:
5693:
5687:
5684:
5678:
5675:
5669:
5666:
5660:
5657:
5651:
5648:cast information
5641:
5635:
5624:
5618:
5615:
5609:
5606:
5600:
5594:
5585:
5571:
5565:
5551:
5545:
5530:
5524:
5509:
5503:
5464:
5458:
5448:
5442:
5435:
5429:
5426:
5420:
5417:
5411:
5392:
5386:
5383:
5377:
5366:
5360:
5357:
5351:
5334:
5328:
5325:
5316:
5306:"Recent History"
5303:
5297:
5286:
5280:
5273:
5267:
5264:
5258:
5240:
5234:
5224:
5218:
5211:
5205:
5194:
5188:
5173:
5167:
5164:The Sunday Times
5156:
5147:
5144:
5138:
5131:
5125:
5106:
5100:
5089:
5083:
5076:
5070:
5055:
5049:
5042:
5036:
5033:
5024:
5013:
5007:
4998:Shepherd, Marc.
4996:
4990:
4987:
4981:
4978:
4972:
4969:
4963:
4960:
4954:
4951:
4945:
4942:
4936:
4933:
4927:
4924:
4918:
4901:
4895:
4889:
4883:
4872:
4866:
4861:to be revived",
4855:
4849:
4846:
4837:
4834:
4828:
4825:
4812:
4799:Shepherd, Mark.
4797:
4791:
4755:Shepherd, Mark.
4753:
4747:
4740:Stuart, Philip.
4738:
4732:
4729:
4723:
4720:
4714:
4711:
4705:
4702:
4696:
4689:
4683:
4676:
4670:
4667:
4656:
4653:
4647:
4633:
4627:
4624:
4618:
4615:
4609:
4603:
4597:
4594:
4588:
4585:
4576:
4573:
4567:
4552:
4546:
4543:
4537:
4517:
4511:
4510:
4508:
4506:
4497:. Archived from
4491:
4485:
4482:
4476:
4475:
4473:
4471:
4462:. Archived from
4456:
4450:
4433:
4427:
4424:
4418:
4411:
4405:
4399:
4393:
4387:
4381:
4378:
4369:
4363:
4354:
4347:Walbrook, H. M.
4344:
4338:
4331:
4325:
4306:
4297:
4294:
4285:
4282:
4273:
4262:
4256:
4248:
4242:
4231:
4225:
4219:
4213:
4210:
4204:
4197:
4191:
4188:
4182:
4179:
4173:
4170:
4164:
4161:
4155:
4152:
4146:
4140:
4134:
4131:
4125:
4122:
4116:
4115:, 7 January 1948
4108:
4102:
4099:
4086:
4083:
4077:
4067:
4061:
4058:
4052:
4045:
4039:
4036:
4025:
3999:
3993:
3979:"The Grand Duke"
3971:
3962:
3959:
3953:
3952:
3950:
3948:
3939:. Archived from
3933:
3927:
3920:
3914:
3911:
3905:
3902:
3896:
3893:
3887:
3884:
3878:
3875:
3869:
3848:
3842:
3839:
3830:
3814:
3808:
3794:
3788:
3781:
3775:
3772:
3766:
3763:
3757:
3754:
3748:
3747:
3725:Jacobs, Arthur.
3723:
3717:
3714:
3708:
3702:
3696:
3693:
3687:
3672:
3661:
3658:
3649:
3646:
3640:
3637:
3631:
3617:
3611:
3608:
3599:
3596:
3590:
3587:
3576:
3573:
3567:
3558:
3552:
3549:
3543:
3536:
3530:
3527:
3514:
3498:Wearing, J. P. (
3496:
3490:
3487:
3481:
3474:
3465:
3458:
3452:
3438:
3432:
3429:
3423:
3420:
3414:
3411:
3405:
3402:
3396:
3378:
3372:
3354:
3348:
3334:
3325:
3307:
3301:
3298:
3289:
3286:
3280:
3265:
3256:
3242:
3236:
3233:
3227:
3224:
3218:
3215:
3209:
3202:
3196:
3193:
3187:
3162:
3156:
3153:
3147:
3144:
3138:
3135:
3129:
3126:
3115:
3112:
3106:
3103:
3097:
3094:
3088:
3085:
3079:
3076:
3070:
3063:
3057:
3054:
3048:
3045:
3039:
3036:
3030:
3027:
3021:
3018:
3012:
3005:
2999:
2992:
2986:
2971:
2965:
2962:
2956:
2953:
2944:
2941:
2935:
2932:
2926:
2908:
2897:
2885:
2879:
2872:
2859:
2856:
2850:
2847:
2838:
2832:
2826:
2808:
2802:
2799:
2793:
2785:
2779:
2764:
2758:
2755:
2749:
2746:
2740:
2733:
2724:
2721:
2715:
2712:
2706:
2703:
2697:
2688:
2682:
2681:
2659:Jacobs, Arthur.
2657:
2627:
2624:Osbert Lancaster
2617:
2611:
2609:Kenneth Sandford
2585:
2579:
2557:
2551:
2548:
2542:
2539:
2533:
2526:
2520:
2502:
2496:
2485:
2479:
2476:
2470:
2467:
2461:
2454:
2448:
2439:
2403:
2255:, mezzo-soprano
2244:Grahame Clifford
2226:Sydney Granville
2214:Darrell Fancourt
2212:, bass-baritone
2113:Signor Brocolini
2057:as Bunthorne in
2055:George Grossmith
1837:, both starring
1721:, Alan Barrett,
1623:Dramatic Licence
1413:Grahame Clifford
1324:(later known as
1293:Prince's Theatre
1258:Charles Ricketts
1142:The Emerald Isle
1116:The Emerald Isle
1101:The Beauty Stone
1090:The Beauty Stone
1009:, with music by
776:, together with
756:Lithograph from
506:J. C. Williamson
434:Scene from 1886
410:street musicians
393:Gaiety Theatre's
361:George Grossmith
320:, the editor of
6870:
6869:
6865:
6864:
6863:
6861:
6860:
6859:
6855:Touring theatre
6840:Opera in London
6820:
6819:
6816:
6811:
6783:
6694:Sullivan operas
6689:
6601:
6589:Utopia, Limited
6526:H.M.S. Pinafore
6492:
6483:Arthur Sullivan
6469:
6464:
6431:British Library
6379:
6369:
6350:
6331:
6315:
6313:Further reading
6299:
6280:
6258:
6195:
6160:
6139:
6113:
6111:
6093:
6052:
6031:
6010:
5974:
5958:
5953:
5952:
5943:
5939:
5930:
5926:
5918:
5914:
5900:
5896:
5879:
5875:
5871:at Open Library
5869:Wayback Machine
5857:
5853:
5845:
5841:
5834:The Radio Times
5829:Wayback Machine
5816:
5812:
5802:Wayback Machine
5792:
5788:
5782:Wayback Machine
5773:
5769:
5760:
5756:
5745:
5741:
5736:
5732:
5727:
5723:
5718:
5714:
5703:
5699:
5694:
5690:
5685:
5681:
5676:
5672:
5667:
5663:
5658:
5654:
5643:Howarth, Paul.
5642:
5638:
5625:
5621:
5616:
5612:
5607:
5603:
5595:
5588:
5580:Utopia, Limited
5572:
5568:
5562:Wayback Machine
5552:
5548:
5531:
5527:
5521:Wayback Machine
5510:
5506:
5465:
5461:
5449:
5445:
5436:
5432:
5427:
5423:
5418:
5414:
5393:
5389:
5384:
5380:
5367:
5363:
5358:
5354:
5335:
5331:
5326:
5319:
5313:Wayback Machine
5304:
5300:
5288:Finch, Hilary.
5287:
5283:
5274:
5270:
5265:
5261:
5241:
5237:
5225:
5221:
5212:
5208:
5195:
5191:
5174:
5170:
5158:Canning, Hugh.
5157:
5150:
5145:
5141:
5132:
5128:
5107:
5103:
5090:
5086:
5077:
5073:
5056:
5052:
5046:Classical Music
5043:
5039:
5034:
5027:
5014:
5010:
4997:
4993:
4988:
4984:
4979:
4975:
4970:
4966:
4961:
4957:
4952:
4948:
4943:
4939:
4934:
4930:
4925:
4921:
4911:Wayback Machine
4902:
4898:
4890:
4886:
4880:The Independent
4873:
4869:
4856:
4852:
4847:
4840:
4835:
4831:
4826:
4815:
4798:
4794:
4768:Wayback Machine
4754:
4750:
4739:
4735:
4730:
4726:
4721:
4717:
4712:
4708:
4703:
4699:
4690:
4686:
4677:
4673:
4668:
4659:
4654:
4650:
4634:
4630:
4625:
4621:
4616:
4612:
4604:
4600:
4595:
4591:
4586:
4579:
4574:
4570:
4564:Adelphi Theatre
4556:Saville Theatre
4553:
4549:
4544:
4540:
4534:Wayback Machine
4518:
4514:
4504:
4502:
4493:
4492:
4488:
4483:
4479:
4469:
4467:
4458:
4457:
4453:
4443:Wayback Machine
4434:
4430:
4425:
4421:
4412:
4408:
4400:
4396:
4388:
4384:
4379:
4372:
4364:
4357:
4345:
4341:
4332:
4328:
4316:Wayback Machine
4307:
4300:
4295:
4288:
4283:
4276:
4263:
4259:
4249:
4245:
4232:
4228:
4220:
4216:
4211:
4207:
4198:
4194:
4189:
4185:
4180:
4176:
4171:
4167:
4162:
4158:
4153:
4149:
4141:
4137:
4132:
4128:
4123:
4119:
4109:
4105:
4100:
4089:
4084:
4080:
4075:Utopia, Limited
4068:
4064:
4059:
4055:
4046:
4042:
4037:
4028:
4022:Wayback Machine
4000:
3996:
3986:Wayback Machine
3972:
3965:
3961:Stedman, p. 270
3960:
3956:
3946:
3944:
3943:on 14 July 2011
3935:
3934:
3930:
3921:
3917:
3912:
3908:
3903:
3899:
3894:
3890:
3885:
3881:
3876:
3872:
3862:Wayback Machine
3849:
3845:
3840:
3833:
3827:Wayback Machine
3815:
3811:
3805:Wayback Machine
3795:
3791:
3782:
3778:
3773:
3769:
3764:
3760:
3755:
3751:
3741:
3734:Wayback Machine
3724:
3720:
3715:
3711:
3703:
3699:
3694:
3690:
3673:
3664:
3659:
3652:
3647:
3643:
3638:
3634:
3628:Wayback Machine
3618:
3614:
3609:
3602:
3597:
3593:
3588:
3579:
3574:
3570:
3565:programme, 1881
3559:
3555:
3550:
3546:
3537:
3533:
3528:
3517:
3507:Wayback Machine
3497:
3493:
3488:
3484:
3475:
3468:
3459:
3455:
3439:
3435:
3430:
3426:
3421:
3417:
3412:
3408:
3403:
3399:
3379:
3375:
3365:Wayback Machine
3355:
3351:
3345:Wayback Machine
3336:Bentley, Paul.
3335:
3328:
3318:Wayback Machine
3308:
3304:
3299:
3292:
3287:
3283:
3266:
3259:
3253:Wayback Machine
3243:
3239:
3235:Stedman, p. 163
3234:
3230:
3225:
3221:
3216:
3212:
3203:
3199:
3194:
3190:
3172:Wayback Machine
3163:
3159:
3154:
3150:
3145:
3141:
3136:
3132:
3127:
3118:
3114:Stedman, p. 170
3113:
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3064:
3060:
3055:
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3042:
3037:
3033:
3028:
3024:
3019:
3015:
3011:, London (2009)
3006:
3002:
2993:
2989:
2983:Wayback Machine
2972:
2968:
2963:
2959:
2954:
2947:
2942:
2938:
2933:
2929:
2919:Wayback Machine
2909:
2900:
2886:
2882:
2873:
2862:
2857:
2853:
2848:
2841:
2833:
2829:
2819:Wayback Machine
2809:
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2800:
2796:
2786:
2782:
2765:
2761:
2756:
2752:
2748:Stedman, p. 125
2747:
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2734:
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2718:
2713:
2709:
2704:
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2689:
2685:
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2668:Wayback Machine
2658:
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2586:
2582:
2558:
2554:
2549:
2545:
2540:
2536:
2527:
2523:
2503:
2499:
2493:H.M.S. Pinafore
2486:
2482:
2477:
2473:
2468:
2464:
2455:
2451:
2440:
2436:
2431:
2426:
2411:were issued by
2409:cigarette cards
2401:
2346:as part of the
2313:
2289:Aix-en-Provence
2172:Courtice Pounds
2144:Walter Passmore
2121:Fred Billington
2109:Geraldine Ulmar
2069:
2037:Utopia, Limited
2029:Utopia, Limited
1968:Queen's Theatre
1815:H.M.S. Pinafore
1787:
1775:Adelphi Theatre
1579:Utopia, Limited
1571:Michael Heyland
1563:H.M.S. Pinafore
1552:cinema film of
1543:
1504:H.M.S. Pinafore
1426:H.M.S. Pinafore
1389:Isidore Godfrey
1362:H.M.S. Pinafore
1358:The Gondoliers,
1342:
1301:Malcolm Sargent
1129:
988:Utopia, Limited
928:The Nautch Girl
900:
807:'s spectacular
713:
658:Charles Wyndham
629:George Edwardes
569:decorative arts
481:H.M.S. Pinafore
473:H.M.S. Pinafore
447:H.M.S. Pinafore
428:
373:Rosina Brandram
280:Happy Hampstead
245:Arthur Sullivan
227:Royalty Theatre
181:
176:
164:musical theatre
156:Utopia, Limited
120:Isidore Godfrey
87:H.M.S. Pinafore
66:Arthur Sullivan
17:
12:
11:
5:
6868:
6858:
6857:
6852:
6847:
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6690:
6688:
6687:
6682:
6677:
6672:
6667:
6662:
6657:
6656:
6655:
6653:dramatic works
6645:
6640:
6635:
6630:
6625:
6620:
6615:
6609:
6607:
6603:
6602:
6600:
6599:
6596:The Grand Duke
6592:
6585:
6582:The Gondoliers
6578:
6571:
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6529:
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6405:
6400:
6395:
6390:
6385:
6378:
6377:External links
6375:
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6185:Leonard Osborn
6180:
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6125:Jacobs, Arthur
6121:
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5661:
5652:
5646:Fallen Fairies
5636:
5634:(Summer, 2006)
5619:
5610:
5601:
5586:
5576:The Gondoliers
5566:
5546:
5532:Hall, George.
5525:
5504:
5459:
5443:
5430:
5421:
5412:
5387:
5378:
5361:
5352:
5329:
5317:
5298:
5281:
5268:
5259:
5243:Milnes, Rodney
5235:
5219:
5206:
5196:Seton, Craig.
5189:
5168:
5166:, 7 April 1991
5148:
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4657:
4648:
4628:
4619:
4610:
4598:
4589:
4577:
4568:
4547:
4538:
4512:
4501:on 27 May 2008
4486:
4477:
4466:on 27 May 2008
4451:
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4053:
4040:
4026:
3994:
3975:The Grand Duke
3963:
3954:
3928:
3915:
3906:
3904:Jacobs, p. 288
3897:
3895:Jacobs, p. 287
3888:
3886:Ainger, p. 270
3879:
3877:Jacobs, p. 248
3870:
3852:Excerpt about
3843:
3831:
3817:Kenrick, John.
3809:
3789:
3776:
3767:
3758:
3749:
3718:
3709:
3697:
3688:
3662:
3660:Jacobs, p. 188
3650:
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3600:
3591:
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3568:
3553:
3544:
3531:
3515:
3491:
3482:
3466:
3460:Bond, Jessie.
3453:
3433:
3431:Fargis, p. 261
3424:
3415:
3406:
3397:
3380:Rosen, Zvi S.
3373:
3349:
3326:
3302:
3290:
3281:
3257:
3237:
3228:
3219:
3210:
3197:
3188:
3157:
3148:
3139:
3130:
3116:
3107:
3098:
3096:Ainger, p. 162
3089:
3080:
3078:Jacobs, p. 122
3071:
3065:Bond, Jessie.
3058:
3049:
3040:
3031:
3022:
3020:Jacobs, p. 113
3013:
3000:
2987:
2966:
2957:
2955:Ainger, p. 152
2945:
2936:
2934:Ainger, p. 140
2927:
2898:
2888:Desprez, Frank
2880:
2860:
2851:
2849:Ainger, p. 130
2839:
2827:
2810:Stone, David.
2803:
2794:
2780:
2759:
2757:Ainger, p. 108
2750:
2741:
2725:
2716:
2707:
2698:
2683:
2638:
2637:
2635:
2632:
2629:
2628:
2612:
2597:Gillian Knight
2593:Jean Hindmarsh
2580:
2552:
2543:
2534:
2521:
2497:
2480:
2471:
2462:
2449:
2433:
2432:
2430:
2427:
2425:
2422:
2387:, directed by
2374:The 1953 film
2363:and a book by
2312:
2309:
2305:Jasper Carrott
2249:Richard Walker
2193:Fallen Fairies
2136:The Grand Duke
2133:as Rudolph in
2090:Leonora Braham
2068:
2065:
2045:Stuart Maunder
2043:, directed by
2033:The Gondoliers
1985:Scottish Opera
1977:Raymond Gubbay
1956:The Grand Duke
1919:Die Fledermaus
1882:The Gondoliers
1839:Gillian Knight
1819:Olivier Awards
1807:Bramwell Tovey
1803:Richard Condon
1786:
1783:
1719:Jeffrey Skitch
1715:Leonard Osborn
1679:The Gondoliers
1647:The Grand Duke
1639:Utopia Limited
1611:The Grand Duke
1542:
1539:
1496:The Gondoliers
1476:Frederic Lloyd
1385:Sadler's Wells
1341:
1338:
1266:The Gondoliers
1254:Percy Anderson
1198:The Gondoliers
1170:The Gondoliers
1147:Merrie England
1128:
1125:
1096:The Lucky Star
1061:The Grand Duke
1057:The Gondoliers
1052:The Grand Duke
1025:André Messager
1023:, composed by
973:The Grand Duke
937:Edward Solomon
935:, Desprez and
922:The Gondoliers
904:The Gondoliers
899:
896:
881:Windsor Castle
877:The Gondoliers
869:Queen Victoria
852:The Gondoliers
813:Lyceum Theatre
712:
710:The Gondoliers
703:
606:Charles Gounod
598:Clara Schumann
427:
418:
395:ballet-master
365:Richard Temple
343:Alfred Cellier
180:
177:
175:
172:
150:The Gondoliers
128:Frederic Lloyd
90:(1878). After
51:Scottish Opera
15:
9:
6:
4:
3:
2:
6867:
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6759:
6755:
6752:
6751:
6750:The Chieftain
6747:
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6535:
6534:
6530:
6528:
6527:
6523:
6521:
6520:
6516:
6514:
6513:
6512:Trial by Jury
6509:
6507:
6506:
6502:
6501:
6499:
6495:
6489:
6486:
6484:
6481:
6479:
6478:W. S. Gilbert
6476:
6475:
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6316:
6307:
6304:
6300:
6298:0-903443-12-0
6294:
6290:
6285:
6281:
6279:0-297-78505-2
6275:
6271:
6267:
6266:Wilson, Robin
6263:
6259:
6257:0-19-816174-3
6253:
6249:
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6232:
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6213:0-370-30249-4
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6178:0-9507992-1-1
6175:
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6159:1-58465-311-6
6155:
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6140:
6138:0-19-282033-8
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6092:0-405-08430-7
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6026:
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6005:
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5891:1-4179-9228-X
5888:
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5508:
5502:, 17 May 2013
5501:
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5434:
5425:
5416:
5409:
5405:
5401:
5399:
5391:
5382:
5375:
5371:
5368:Ashley, Tim.
5365:
5356:
5349:
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5343:
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5314:
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5272:
5263:
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5252:
5248:
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5232:
5228:
5223:
5216:
5215:The Observer
5210:
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4403:
4398:
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4377:
4375:
4368:
4362:
4360:
4352:
4351:, Chapter XVI
4350:
4343:
4336:
4330:
4323:
4322:
4317:
4313:
4310:
4305:
4303:
4293:
4291:
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4261:
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4196:
4187:
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4169:
4160:
4151:
4144:
4139:
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4121:
4114:
4113:
4112:New York Post
4107:
4098:
4096:
4094:
4092:
4082:
4076:
4072:
4066:
4060:Wolfson, p. 7
4057:
4050:
4044:
4035:
4033:
4031:
4023:
4019:
4016:
4012:
4008:
4004:
3998:
3991:
3987:
3983:
3980:
3976:
3970:
3968:
3958:
3942:
3938:
3932:
3925:
3919:
3913:Baily, p. 344
3910:
3901:
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3867:
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3701:
3692:
3685:
3681:
3679:
3671:
3669:
3667:
3657:
3655:
3645:
3639:Baily, p. 251
3636:
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3450:0-8386-3850-3
3447:
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3401:
3394:
3390:
3389:archive.today
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3254:
3250:
3247:
3244:Gillan, Don.
3241:
3232:
3223:
3214:
3207:
3201:
3192:
3185:
3181:
3177:
3173:
3169:
3166:
3161:
3152:
3143:
3134:
3125:
3123:
3121:
3111:
3102:
3093:
3084:
3075:
3068:
3062:
3053:
3044:
3035:
3026:
3017:
3010:
3004:
2997:
2991:
2984:
2980:
2976:
2970:
2961:
2952:
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2940:
2931:
2924:
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2916:
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2907:
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2895:
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2889:
2884:
2877:
2871:
2869:
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2865:
2855:
2846:
2844:
2836:
2831:
2824:
2820:
2816:
2813:
2807:
2798:
2791:
2790:
2784:
2777:
2773:
2769:
2763:
2754:
2745:
2738:
2732:
2730:
2720:
2711:
2702:
2695:
2694:
2687:
2679:
2673:
2669:
2665:
2662:
2656:
2654:
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2648:
2646:
2644:
2639:
2625:
2621:
2616:
2610:
2606:
2602:
2598:
2594:
2590:
2584:
2577:
2573:
2569:
2565:
2561:
2556:
2547:
2538:
2531:
2525:
2518:
2517:
2512:
2511:
2507:
2501:
2494:
2490:
2487:For example,
2484:
2475:
2466:
2459:
2458:Fred Sullivan
2453:
2446:
2445:
2438:
2434:
2421:
2419:
2414:
2410:
2405:
2400:
2399:
2394:
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2385:
2379:
2378:
2372:
2370:
2366:
2362:
2358:
2357:
2352:
2349:
2345:
2341:
2337:
2332:
2330:
2326:
2322:
2318:
2308:
2306:
2302:
2296:
2294:
2290:
2286:
2282:
2277:
2275:
2271:
2267:
2262:
2258:
2257:Marjorie Eyre
2254:
2253:Helen Roberts
2250:
2245:
2237:
2233:
2229:
2227:
2223:
2219:
2215:
2211:
2207:
2201:
2199:
2195:
2194:
2189:
2188:Leo Sheffield
2185:
2181:
2177:
2173:
2169:
2165:
2161:
2157:
2153:
2149:
2145:
2138:
2137:
2132:
2128:
2124:
2122:
2118:
2117:George Thorne
2114:
2110:
2106:
2105:bass-baritone
2102:
2099:
2095:
2091:
2088:
2085:Jessie Bond,
2084:
2083:mezzo-soprano
2080:
2075:
2074:Trial by Jury
2062:
2061:
2056:
2052:
2048:
2046:
2042:
2038:
2034:
2030:
2026:
2022:
2018:
2014:
2010:
2006:
2002:
1998:
1994:
1993:Richard Suart
1990:
1986:
1981:
1978:
1973:
1969:
1965:
1959:
1957:
1953:
1949:
1945:
1941:
1937:
1933:
1932:
1927:
1926:
1921:
1920:
1914:
1910:
1909:
1903:
1901:
1896:
1892:
1887:
1883:
1879:
1875:
1871:
1867:
1863:
1858:
1856:
1852:
1848:
1844:
1840:
1836:
1832:
1828:
1824:
1820:
1816:
1812:
1808:
1804:
1800:
1796:
1792:
1782:
1780:
1779:Trial by Jury
1776:
1772:
1768:
1760:
1755:
1751:
1749:
1744:
1738:
1736:
1732:
1728:
1727:Philip Potter
1724:
1720:
1716:
1712:
1708:
1704:
1700:
1696:
1692:
1691:Elsie Griffin
1688:
1684:
1683:Trial by Jury
1680:
1676:
1672:
1668:
1664:
1660:
1656:
1655:Richard Baker
1652:
1648:
1644:
1640:
1636:
1635:Harold Wilson
1632:
1631:Trial by Jury
1628:
1624:
1620:
1616:
1612:
1608:
1604:
1600:
1596:
1595:Trial by Jury
1592:
1591:Trial by Jury
1586:
1584:
1580:
1576:
1572:
1568:
1564:
1560:
1556:
1555:
1549:
1538:
1536:
1535:
1530:
1525:
1521:
1517:
1516:Eleanor Evans
1513:
1509:
1505:
1501:
1500:Trial by Jury
1497:
1493:
1489:
1485:
1481:
1477:
1469:
1465:
1461:
1459:
1455:
1451:
1447:
1443:
1439:
1435:
1431:
1427:
1423:
1419:
1414:
1408:
1406:
1402:
1398:
1394:
1390:
1386:
1381:
1379:
1375:
1374:Trial by Jury
1371:
1367:
1363:
1359:
1355:
1354:Basil Ionides
1346:
1337:
1335:
1331:
1330:Decca Records
1327:
1323:
1319:
1314:
1312:
1308:
1307:
1302:
1298:
1297:Geoffrey Toye
1294:
1286:
1282:
1278:
1275:
1271:
1267:
1263:
1259:
1255:
1251:
1247:
1241:
1239:
1235:
1231:
1229:
1224:
1217:
1213:
1209:
1207:
1206:C. H. Workman
1203:
1199:
1195:
1191:
1187:
1183:
1179:
1175:
1171:
1167:
1162:
1159:
1155:
1154:
1149:
1148:
1143:
1139:
1135:
1134:William Greet
1124:
1122:
1121:Edward German
1118:
1117:
1112:
1111:
1106:
1102:
1098:
1097:
1092:
1091:
1086:
1085:
1080:
1079:
1073:
1069:
1064:
1062:
1058:
1054:
1053:
1048:
1044:
1040:
1039:The Chieftain
1036:
1035:F. C. Burnand
1032:
1031:
1030:The Chieftain
1026:
1022:
1021:
1016:
1012:
1008:
1004:
1000:
999:
994:
990:
989:
984:
975:
974:
969:
965:
961:
957:
954:
953:
948:
947:
942:
941:Sydney Grundy
938:
934:
930:
929:
923:
918:
916:
911:
909:
905:
895:
892:
891:
887:, writing in
886:
882:
878:
874:
870:
860:
856:
854:
853:
848:
847:
842:
841:
835:
831:
827:
823:
822:
816:
814:
810:
806:
802:
798:
793:
789:
788:
783:
779:
778:Trial by Jury
775:
770:
767:
759:
754:
750:
747:
743:
742:
737:
736:
731:
724:
723:
717:
711:
707:
702:
699:
695:
689:
687:
686:
685:Billee Taylor
681:
677:
673:
669:
665:
664:
659:
655:
654:
649:
645:
641:
637:
632:
630:
626:
621:
617:
615:
611:
610:Savoy Theatre
607:
603:
600:, Offenbach,
599:
595:
594:Adelina Patti
587:
586:Savoy Theatre
582:
577:
572:
570:
566:
562:
558:
554:
553:
547:
545:
541:
536:
531:
527:
526:
518:
513:
509:
507:
503:
499:
494:
489:
485:
482:
476:
474:
470:
466:
461:
457:
456:Covent Garden
453:
449:
448:
440:
437:
436:Savoy Theatre
432:
426:
422:
417:
415:
411:
407:
402:
398:
394:
388:
386:
382:
378:
374:
370:
366:
362:
357:
352:
348:
345:and words by
344:
340:
339:
334:
333:
327:
325:
324:
319:
318:Frank Desprez
315:
311:
307:
303:
295:
291:
287:
285:
284:Trial by Jury
281:
277:
273:
272:Trial by Jury
269:
264:
262:
258:
257:
256:Trial by Jury
252:
251:
246:
242:
241:W. S. Gilbert
238:
237:
232:
228:
223:
221:
218:
214:
210:
206:
205:
200:
196:
189:
185:
171:
169:
165:
160:
158:
157:
152:
151:
146:
145:
140:
139:
134:
129:
125:
121:
117:
113:
108:
106:
102:
101:Savoy Theatre
98:
93:
89:
88:
83:
82:
77:
76:
75:Trial by Jury
71:
67:
63:
62:W. S. Gilbert
59:
54:
52:
47:
43:
39:
35:
28:
23:
19:
6817:
6772:
6764:
6756:
6748:
6740:
6732:
6724:
6716:
6708:
6700:
6617:
6594:
6587:
6580:
6573:
6566:
6559:
6554:Princess Ida
6552:
6545:
6538:
6531:
6524:
6519:The Sorcerer
6517:
6510:
6503:
6358:
6339:
6320:
6305:
6288:
6269:
6247:
6230:
6222:
6219:
6203:
6184:
6168:
6148:
6128:
6114:21 September
6112:. Retrieved
6108:the original
6102:
6081:
6077:Dark, Sidney
6060:
6040:
6019:
5998:
5994:Bradley, Ian
5986:
5982:
5963:
5940:
5927:
5915:
5905:
5897:
5881:
5876:
5860:
5859:Listing for
5854:
5842:
5832:
5819:
5813:
5805:
5789:
5770:
5757:
5747:
5742:
5733:
5724:
5715:
5705:
5700:
5691:
5682:
5673:
5664:
5655:
5645:
5639:
5631:
5627:
5622:
5613:
5604:
5597:
5579:
5575:
5569:
5549:
5544:, 6 May 2016
5541:
5535:
5528:
5512:
5507:
5499:
5493:
5488:The Guardian
5487:
5481:
5475:
5469:
5462:
5452:
5446:
5433:
5424:
5415:
5407:
5403:
5397:
5390:
5381:
5374:The Guardian
5373:
5364:
5355:
5347:The Guardian
5345:
5342:"The Mikado"
5332:
5301:
5293:
5284:
5277:The Observer
5276:
5271:
5262:
5255:The Guardian
5254:
5250:
5238:
5230:
5222:
5214:
5209:
5204:, 9 May 1990
5201:
5192:
5180:
5171:
5163:
5142:
5135:The Observer
5134:
5129:
5121:
5113:
5104:
5097:The Guardian
5096:
5092:
5087:
5080:The Observer
5079:
5074:
5067:The Guardian
5066:
5062:
5059:The Guardian
5058:
5053:
5045:
5040:
5020:
5015:Skow, John.
5011:
5003:
4994:
4985:
4976:
4967:
4958:
4949:
4940:
4931:
4922:
4914:
4899:
4892:The Savoyard
4891:
4887:
4879:
4870:
4862:
4859:The Sorcerer
4858:
4853:
4832:
4808:
4802:
4795:
4787:
4781:
4773:
4758:
4751:
4742:
4736:
4727:
4718:
4709:
4700:
4692:
4687:
4678:Watt, John.
4674:
4651:
4643:
4640:The Sorcerer
4639:
4631:
4622:
4613:
4605:
4601:
4592:
4571:
4550:
4541:
4525:
4521:
4515:
4505:25 September
4503:. Retrieved
4499:the original
4489:
4480:
4468:. Retrieved
4464:the original
4454:
4446:
4431:
4422:
4414:
4409:
4397:
4390:The Observer
4389:
4385:
4366:
4348:
4342:
4334:
4329:
4319:
4269:
4265:
4260:
4250:
4246:
4238:
4229:
4221:
4217:
4208:
4200:
4195:
4186:
4177:
4168:
4159:
4150:
4142:
4138:
4129:
4120:
4110:
4106:
4081:
4074:
4070:
4065:
4056:
4048:
4043:
4010:
4006:
4002:
3997:
3989:
3974:
3957:
3945:. Retrieved
3941:the original
3931:
3923:
3918:
3909:
3900:
3891:
3882:
3873:
3865:
3853:
3846:
3812:
3792:
3784:
3779:
3770:
3761:
3752:
3737:
3721:
3712:
3704:
3700:
3691:
3683:
3680:) Explained"
3677:
3644:
3635:
3615:
3594:
3571:
3562:
3556:
3547:
3539:
3534:
3510:
3494:
3485:
3478:The Savoyard
3477:
3456:
3436:
3427:
3418:
3409:
3400:
3392:
3376:
3368:
3352:
3321:
3305:
3284:
3273:held at the
3268:
3240:
3231:
3222:
3213:
3205:
3200:
3191:
3183:
3179:
3175:
3160:
3151:
3142:
3133:
3110:
3101:
3092:
3083:
3074:
3061:
3052:
3043:
3034:
3025:
3016:
3003:
2995:
2990:
2969:
2960:
2939:
2930:
2922:
2891:
2883:
2876:The Savoyard
2875:
2854:
2834:
2830:
2822:
2806:
2797:
2787:
2783:
2775:
2771:
2767:
2762:
2753:
2744:
2736:
2719:
2710:
2701:
2691:
2686:
2671:
2620:The Sorcerer
2619:
2615:
2605:Thomas Round
2589:Donald Adams
2583:
2576:The Sorcerer
2575:
2572:Princess Ida
2571:
2567:
2563:
2559:
2555:
2546:
2537:
2530:Princess Ida
2529:
2524:
2514:
2508:
2500:
2492:
2488:
2483:
2474:
2465:
2452:
2442:
2437:
2406:
2396:
2392:
2382:
2375:
2373:
2354:
2350:
2340:Herman Finck
2335:
2333:
2328:
2324:
2320:
2314:
2297:
2281:Thomas Round
2278:
2274:Joyce Wright
2266:Donald Adams
2261:Leslie Rands
2241:
2236:Henry Lytton
2222:Derek Oldham
2218:Bertha Lewis
2206:George Baker
2202:
2191:
2176:Louie Pounds
2164:Ruth Vincent
2156:Robert Evett
2152:Savoy operas
2141:
2134:
2101:Durward Lely
2073:
2070:
2058:
2036:
2032:
2028:
2021:Andrew Shore
2012:
2008:
2005:The Guardian
2004:
2000:
1988:
1982:
1972:The Guardian
1971:
1963:
1960:
1955:
1951:
1947:
1944:Princess Ida
1943:
1939:
1936:The Sorcerer
1935:
1929:
1923:
1917:
1906:
1904:
1885:
1881:
1877:
1873:
1869:
1865:
1861:
1859:
1855:The Guardian
1854:
1851:The Observer
1850:
1834:
1830:
1814:
1810:
1788:
1778:
1764:
1747:
1739:
1734:
1703:Radley Flynn
1695:Ivan Menzies
1687:Sylvia Cecil
1682:
1678:
1674:
1670:
1662:
1659:Royston Nash
1646:
1638:
1630:
1622:
1614:
1610:
1606:
1602:
1599:The Sorcerer
1598:
1594:
1590:
1587:
1582:
1581:in 1975 and
1578:
1575:The Sorcerer
1574:
1566:
1562:
1558:
1553:
1544:
1532:
1523:
1519:
1512:Princess Ida
1511:
1507:
1503:
1499:
1495:
1491:
1487:
1483:
1479:
1473:
1457:
1453:
1450:Peter Goffin
1445:
1441:
1437:
1433:
1430:Princess Ida
1429:
1425:
1422:The Sorcerer
1421:
1417:
1409:
1404:
1401:Martyn Green
1397:Henry Lytton
1382:
1377:
1373:
1369:
1365:
1361:
1357:
1351:
1317:
1315:
1311:Harry Norris
1304:
1290:
1274:The Observer
1273:
1269:
1265:
1261:
1250:Hugo Rumbold
1242:
1232:
1227:
1223:J. M. Gordon
1220:
1201:
1197:
1193:
1189:
1185:
1181:
1177:
1173:
1169:
1165:
1163:
1157:
1151:
1145:
1141:
1137:
1130:
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1108:
1100:
1094:
1088:
1082:
1076:
1071:
1065:
1060:
1056:
1050:
1046:
1038:
1028:
1018:
1014:
1003:J. M. Barrie
996:
992:
986:
983:Tom Chappell
979:
971:
950:
944:
933:George Dance
926:
921:
919:
914:
912:
903:
901:
888:
885:Bernard Shaw
876:
865:
850:
844:
838:
833:
829:
819:
817:
805:Henry Irving
801:Hawes Craven
796:
791:
785:
781:
777:
774:The Sorcerer
773:
771:
766:Princess Ida
765:
762:
757:
745:
741:Princess Ida
739:
733:
729:
727:
720:
709:
705:
694:Savoy operas
690:
683:
680:Claude Duval
679:
675:
671:
667:
663:Claude Duval
661:
651:
647:
643:
639:
633:
624:
619:
618:
614:Savoy Palace
591:
574:
550:
548:
534:
529:
523:
521:
516:
501:
497:
487:
486:
480:
477:
472:
468:
464:
459:
451:
445:
443:
424:
420:
414:The Sorcerer
413:
406:The Sorcerer
405:
401:Herman Klein
397:John D'Auban
389:
384:
377:The Sorcerer
376:
356:naturalistic
347:Arthur Cecil
338:Dora's Dream
336:
332:The Sorcerer
330:
328:
321:
314:Helen Lenoir
299:
294:Helen Lenoir
283:
279:
276:Michael Gunn
271:
265:
261:La Périchole
260:
254:
248:
236:La Périchole
234:
224:
209:opera bouffe
204:The Observer
202:
192:
161:
159:in 2021–22.
154:
148:
147:in 2016 and
142:
136:
116:J. M. Gordon
110:Carte's son
109:
105:Helen Lenoir
97:other operas
91:
85:
81:The Sorcerer
79:
73:
55:
46:Savoy operas
33:
31:
26:
18:
6807:WikiProject
6742:Haddon Hall
6702:Cox and Box
6680:Adaptations
6665:Grim's Dyke
6623:Helen Carte
6613:Savoy opera
4636:Blyth, Alan
4252:Cox and Box
3288:Jones, p. 7
3277:in May 1970
3226:Jones, p. 6
3176:The Theatre
2564:Cox and Box
2460:played Cox.
2418:"Oily Cart"
2384:Topsy-Turvy
2351:Better Days
2325:Penny Plain
2259:, baritone
2162:, sopranos
2111:, baritone
1928:(1995) and
1913:Opera North
1895:Pythonesque
1767:Australasia
1759:Savoy Hotel
1723:Mary Sansom
1711:Ella Halman
1627:John Ayldon
1561:(1965) and
1529:Peter Pratt
1482:(1939) and
1442:Cox and Box
1418:Cox and Box
1264:(1926) and
1234:Helen Carte
1150:(1902) and
1093:(1898) and
1078:His Majesty
1011:Ernest Ford
952:Haddon Hall
809:Shakespeare
719:Poster for
602:Oscar Wilde
381:Jessie Bond
250:Cox and Box
239:he brought
213:comic opera
168:grand opera
70:comic opera
38:light opera
6824:Categories
6777:(1901) w/
6561:The Mikado
5632:The Gaiety
5536:The Mikado
5513:The Mikado
5455:Adventure"
4784:Broadcast"
4235:J M Gordon
4049:The Sketch
3947:19 October
2634:References
2407:Series of
2393:The Mikado
2389:Mike Leigh
2251:, soprano
2182:, soprano
2180:Louie René
2160:Isabel Jay
2158:, soprano
2013:The Mikado
1862:The Mikado
1811:The Mikado
1795:Birmingham
1653:presenter
1554:The Mikado
1488:The Mikado
1405:The Mikado
1320:, for the
1318:The Mikado
1270:The Mikado
1262:The Mikado
1238:Royal Navy
1182:The Mikado
1105:Basil Hood
1047:The Mikado
998:Jane Annie
830:The Mikado
797:The Mikado
792:The Mikado
787:The Mikado
758:The Mikado
310:The Strand
220:burlesques
199:impresario
179:Beginnings
144:The Mikado
27:The Mikado
6568:Ruddigore
6069:459156009
5775:"Reviews"
5707:The Stage
5542:The Stage
5500:The Times
5484:– review"
5294:The Times
5251:The Times
5231:The Times
5202:The Times
5181:The Times
5122:The Times
5114:The Times
4863:The Times
4803:Ruddigore
4693:The Times
4644:The Times
4606:The Times
4470:8 October
4415:The Times
4335:The Times
4321:The Times
4143:The Times
4011:The Times
4007:The Times
4003:The Times
3924:The World
3854:Ruddigore
3746:required)
3705:The Times
3540:The Times
3206:The Times
2996:The Times
2789:The Times
2774:Begin?",
2680:required)
2568:Ruddigore
2489:The Times
2369:Moss Hart
2301:Sam Kelly
2184:Clara Dow
2094:contralto
2009:The Times
1948:Ruddigore
1886:The Times
1748:The Times
1699:John Dean
1621:, called
1585:in 1977.
1577:in 1971,
1567:Ruddigore
1548:John Reed
1524:The Times
1484:Ruddigore
1458:Ruddigore
1446:Ruddigore
1434:Ruddigore
1393:Boyd Neel
1306:The Times
1228:Ruddigore
966:comforts
964:Grossmith
890:The World
883:in 1891.
834:Ruddigore
826:melodrama
821:Ruddigore
625:The Times
588:, c. 1881
561:aesthetic
493:copyright
351:Victorian
233:operetta
231:Offenbach
193:By 1874,
141:in 2013,
56:In 1875,
6797:Category
6547:Iolanthe
6540:Patience
6127:(1986).
5996:(1996).
5865:Archived
5825:Archived
5798:Archived
5778:Archived
5558:Archived
5517:Archived
5309:Archived
5093:Iolanthe
5063:Iolanthe
4907:Archived
4782:Patience
4774:Pinafore
4764:Archived
4530:Archived
4526:Patience
4439:Archived
4312:Archived
4266:Iolanthe
4018:Archived
3982:Archived
3858:Archived
3823:Archived
3801:Archived
3730:Archived
3624:Archived
3563:Patience
3503:Archived
3385:Archived
3361:Archived
3341:Archived
3314:Archived
3249:Archived
3168:Archived
2979:Archived
2915:Archived
2815:Archived
2664:Archived
2560:Pinafore
2519:in 1886.
2506:operetta
2315:In 1948
2220:, tenor
2170:, tenor
2131:Passmore
2115:, comic
2079:baritone
2060:Patience
1940:Patience
1922:(1994),
1911:, which
1874:Pinafore
1831:Iolanthe
1735:Pinafore
1663:Pinafore
1603:Pinafore
1583:Iolanthe
1559:Patience
1508:Iolanthe
1502:(1959),
1498:(1958),
1494:(1957),
1492:Patience
1468:Ricketts
1438:Pinafore
1378:Iolanthe
1370:Patience
1190:Iolanthe
1186:Pinafore
1178:Iolanthe
1174:Patience
1144:(1901),
1138:Iolanthe
1087:(1897),
1081:(1897),
991:. While
735:Iolanthe
730:Patience
722:Iolanthe
706:Iolanthe
672:Patience
653:Olivette
648:Patience
644:Patience
640:Patience
620:Patience
565:fine art
552:Patience
540:Paignton
517:Patience
502:Pinafore
498:Pinafore
488:Pinafore
469:Sorcerer
465:Pinafore
460:Pinafore
452:Pinafore
425:Patience
421:Pinafore
385:Pinafore
92:Pinafore
6734:Ivanhoe
6726:The Zoo
6606:Related
6505:Thespis
6429:at the
6421:V&A
6419:at the
6239:1317843
5956:Sources
5453:Pirates
5439:"About"
5400:(1993)"
4917:website
4913:at the
4805:(1967)"
4367:et seq.
4224:, p. ii
3180:The Era
2893:The Era
2821:at the
2516:Dorothy
2444:Thespis
2087:soprano
1966:at the
1964:Pirates
1891:Goonish
1870:Pirates
1827:Strauss
1671:Pirates
1607:Pirates
1299:, then
1194:Pirates
1027:, then
1020:Mirette
915:Ivanhoe
846:Ivanhoe
832:. When
676:Pirates
535:Pirates
530:Pirates
323:The Era
174:History
124:Bridget
6779:German
6769:(1899)
6761:(1898)
6753:(1894)
6745:(1892)
6737:(1891)
6729:(1875)
6721:(1867)
6713:(1867)
6705:(1866)
6497:Operas
6365:
6346:
6327:
6295:
6276:
6254:
6237:
6211:
6191:
6176:
6156:
6135:
6089:
6067:
6048:
6027:
6006:
5970:
5907:Empire
5889:
5808:(1999)
5598:passim
5408:Yeomen
5398:Yeomen
4811:(1999)
4790:(1999)
4778:, and
4776:Video"
4759:Mikado
3448:
2398:Empire
2238:, 1901
1952:Utopia
1675:Mikado
1665:) and
1520:Yeomen
1480:Yeomen
1202:Yeomen
1166:Yeomen
1068:Rupert
1015:Utopia
993:Utopia
920:After
728:After
567:, the
379:, and
268:Dublin
112:Rupert
4761:Film"
3864:from
2772:Trial
2693:Punch
2429:Notes
2402:'
2348:revue
2098:tenor
1878:Trial
1823:Lehár
1615:Trial
1033:, by
1001:, by
968:Carte
931:, by
668:Youth
544:Devon
217:bawdy
6363:ISBN
6344:ISBN
6325:ISBN
6293:ISBN
6274:ISBN
6252:ISBN
6235:OCLC
6209:ISBN
6189:ISBN
6174:ISBN
6154:ISBN
6133:ISBN
6116:2009
6087:ISBN
6065:OCLC
6046:ISBN
6025:ISBN
6004:ISBN
5968:ISBN
5887:ISBN
5578:and
5021:Time
4524:and
4507:2007
4472:2007
3949:2009
3446:ISBN
2607:and
2367:and
2166:and
2103:and
2007:and
1954:and
1876:and
1864:and
1833:and
1825:and
1813:and
1673:and
1605:and
1440:and
1432:and
1376:and
1368:and
1248:and
1200:and
1176:and
1005:and
682:and
604:and
467:and
367:and
282:and
243:and
153:and
32:The
5095:",
5065:",
4642:",
4638:, "
4268:in
4237:at
3678:sic
2768:Zoo
1893:or
1799:BMI
1651:BBC
1522:in
1107:'s
943:'s
879:at
875:of
746:Ida
708:to
423:to
166:or
44:'s
6826::
5904:,
5831:,
5804:.
5589:^
5540:,
5498:,
5486:,
5474:,
5402:.
5372:,
5344:.
5340:.
5320:^
5292:.
5249:.
5245:.
5229:.
5200:.
5179:.
5162:.
5151:^
5120:.
5112:.
5028:^
5019:.
5002:.
4878:.
4841:^
4816:^
4807:.
4786:.
4770:,
4660:^
4580:^
4445:.
4373:^
4358:^
4318:.
4301:^
4289:^
4277:^
4090:^
4029:^
3988:.
3966:^
3834:^
3736:.
3682:,
3665:^
3653:^
3603:^
3580:^
3518:^
3509:.
3469:^
3367:.
3329:^
3320:.
3293:^
3260:^
3174:.
3119:^
2948:^
2921:.
2901:^
2863:^
2842:^
2728:^
2670:.
2642:^
2603:,
2599:,
2595:,
2591:,
2371:.
2331:.
2303:,
2287:,
2276:.
2228:.
2186:,
2092:,
2023:,
2003:,
1950:,
1946:,
1942:,
1938:,
1902:.
1725:,
1713:,
1709:,
1705:,
1701:,
1697:,
1693:,
1689:,
1657:.
1601:,
1428:,
1424:,
1420:,
1395:.
1380:.
1364:,
1336:.
1196:,
1192:,
1188:,
1184:,
1172:,
1168:,
799:,
678:,
674:,
596:,
542:,
458:,
363:,
53:.
6459:e
6452:t
6445:v
6371:.
6352:.
6333:.
6301:.
6282:.
6260:.
6241:.
6197:.
6162:.
6141:.
6118:.
6095:.
6071:.
6054:.
6033:.
6012:.
5976:.
5822:"
5574:"
5534:"
5492:"
5480:"
5468:"
4857:"
4509:.
4474:.
3951:.
2626:.
2532:.
1669:(
976:.
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