"Chancellor's Nightmare Song"" (""When you're lying awake...""). Iolanthe Iolanthe; or, The Peer and the Peri () is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert and Sullivan. In the opera, the fairy Iolanthe has been banished from fairyland because she married a mortal; this is forbidden by fairy law. Her son, Strephon, is an Arcadian shepherd who wants to marry Phyllis, a Ward of Chancery. All the members of the House of Peers also want to marry"
"overture himself, instead of assigning it to an assistant. Two casts rehearsed simultaneously, as the opera was to open on the same night in London and New York City, a historic first for any play. Gilbert had targeted the aristocracy and political officials for satiric treatment in earlier works. In this opera, the House of Lords is lampooned as a bastion of the ineffective, privileged and dim-witted, whose only qualification to govern is noble birth. The political party system, the law and other institutions also come in for a dose of satire. Throughout ""Iolanthe"", however, both author and composer managed"
"1908–09. ""Iolanthe"" was the first Gilbert and Sullivan opera performed professionally in Britain by a non-D'Oyly Carte company. It was produced by the Sadler's Wells Opera (now English National Opera) in January 1962, immediately after the Gilbert copyrights expired. It was well received and was successfully revived for many seasons by Sadler's Wells until 1978. Michael Heyland restaged ""Iolanthe"" for D'Oyly Carte in 1977, the year of Queen Elizabeth's Silver Jubilee, with silver-themed designs. ""Iolanthe"" has remained one of the most popular of the Gilbert and Sullivan works. Thousands of professional and amateur productions of the opera have been given"
"all the Gilbertian series."" Similarly, the ""Theatre"" would say that ""the music of ""Iolanthe"" is Dr Sullivan's ""chef d'oeuvre"". The quality throughout is more even, and maintained at a higher standard, than in any of his earlier works... In every respect ""Iolanthe"" sustains Dr Sullivan's reputation as the most spontaneous, fertile, and scholarly composer of comic opera this country has ever produced."" Sullivan received honorary doctorates of music from the University of Cambridge in 1876, and Oxford in 1879. After Sullivan was knighted in 1883, serious music critics renewed the charge that the composer was squandering his talent. The ""Musical"
"and eye catching costumes plus a full and energetic cast. ... The chorus work is top notch, and they all come across as individuals."" The ""Birmingham Mail"" liked the cast, costumes and ""infectious"" humour of the company's ""Iolanthe"" and called its production of ""The Mikado"" ""superb"", praising the principal cast, chorus and orchestra, but was disappointed in ""the decision to make the Mikado ... a fun figure rather than a scary ruler."" The company's ""Iolanthe"" made a Gilbert and Sullivan fan out of a sceptical reviewer. The ""Daily Express"" reviewer said that the company provided ""glorious musical entertainment"", and the"
"adversary in the front row. Lehane's music tuition began with private lessons from Gordon Clinton, who also taught her father, in the Dinely Music Studios on Oxford Street. From here she was given theatrical parts with productions by the amateur Risley Operatic Group, including the title role in Gilbert and Sullivan's Iolanthe in 1952, produced by her father. After secondary school, Lehane began a course in textile design at Hornsey School of Art. She didn't finish the course, but instead went to the Guildhall School of Music and Drama on a scholarship, entering with the inaugural Kathleen Ferrier Award in"
"& Sullivan Opera Company's performers ""some of the UK's finest exponents of musical theatre"". The ""Mail Online"" gave the company's ""The Mikado"" four stars. A review of the company's 2010 production of ""Iolanthe"", noted, ""The music was up to [the festival's] usual high standard, with the orchestra ... giving a superb and sprightly reading of the Overture and score throughout."" Another reviewer of that production commented: With a reputation for strong casts [and] energetic delivery, traditionally fresh interpretations are brought to [the] roles. ... Care is always taken with the staging and lighting of these ... productions and, as with"
"on the performance practices of the D'Oyly Carte Opera Company. The film is similar in style to other popular biopics of the era, such as ""The Great Caruso"" and takes considerable dramatic licence with factual details and moves events in time. For example, the opening night of ""Iolanthe"" is depicted as being the opening of the Savoy Theatre, whereas the Savoy Theatre actually opened earlier, during the run of ""Patience"". The music in the film is played by the London Symphony Orchestra, conducted by Sir Malcolm Sargent. The film starred Robert Morley as W. S. Gilbert, Maurice Evans as Arthur"
"a volunteer chorus. Initially the music was provided by the orchestra of the Irish Army music school, and later by the Radio Eireann Symphony Orchestra. The Society put on two one-week seasons of opera throughout the years of World War II. After the war ended the DGOS presented performances by European opera companies such as the Opera-Comique, Hamburg Opera and the Netherlands Opera. From the mid 1950s to 1966, the Society, concentrated on Italian opera with the help of sponsorship from the Italian government. During that time numerous Italian stars and rising stars of the day appeared there, including Luciano"
"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 National Operatic and Dramatic Association was founded in 1899. It reported, in 1914, that nearly 200 British societies were producing Gilbert and Sullivan operas that year. After ""Patience"", Carte produced ""Iolanthe"", which opened in 1882. During its run, in February 1883, Carte signed a five-year partnership agreement with Gilbert and Sullivan, obliging them to create new operas for him upon six months' notice. Sullivan had not intended to immediately write a new work with"
"lawyers in this opera, the Lord Chancellor sings that, as a young lawyer, he decided to ""work on a new and original plan"" similar to the practice in other professions, that diligence, honesty, honour and merit should lead to promotion. Gilbert uses the ""fairy law"" as a proxy for mortal law, in which an ""equity draughtsman"" can, with ""the insertion of a single word"", change the entire meaning of the law. Crowther notes: ""All kinds of tone ... mingle in this opera: whimsy, fantasy, romance, wit and political satire."" ""Iolanthe"" had a successful initial run in London of 398 performances,"
"total of 578 performances, surpassing the run of ""H.M.S. Pinafore"" and becoming the second longest-running work of musical theatre up to that time in history. ""Iolanthe"" (1882) was the first of the operas to open at the Savoy. The fully electric Savoy made possible numerous special effects, such as sparkling magic wands for the female chorus of fairies. The opera poked fun at English law and the House of Lords and made much of the war between the sexes. The critics felt that Sullivan's work in ""Iolanthe"" had taken a step forward. ""The Daily Telegraph"" wrote, ""The composer has risen"
"to couch the criticism among such bouncy, amiable absurdities and ""splendid pageantry"" that it is all received as good humour, with Prime Minister Gladstone complimenting the opera's good taste. In fact, Gilbert later refused to allow quotes from the piece to be used as part of the campaign to diminish the powers of the House of Lords. Although titled ""Iolanthe"" all along in Gilbert's plot book, for a time the piece was advertised as ""Perola"" and rehearsed under that name. According to an often-repeated myth, Gilbert and Sullivan did not change the name to ""Iolanthe"" until just before the première."
"in calling the Philharmonia the best string quartet in the country. During the war, Legge was in charge of the music division of ENSA, which provided entertainment for British and allied armed forces. In this role he was in close touch with a large number of first-rate musicians in the armed services, from whom he intended to draw when creating a new orchestra after the end of the war. He later set out his guiding principles: Before the war, Legge had been assistant to Sir Thomas Beecham at the Royal Opera House, Covent Garden. Both men wrongly assumed that they"
"ability to have given us an English opera, and, instead, he affords us a little more-or-less excellent fooling."" Few critics denied the excellence of Sullivan's theatre scores. ""The Theatre"" commented, """"Iolanthe"" sustains Dr. Sullivan's reputation as the most spontaneous, fertile, and scholarly composer of comic opera this country has ever produced."" Comic opera, no matter how skilfully crafted, was viewed as an intrinsically lower form of art than oratorio. ""The Athenaeum's"" review of ""The Martyr of Antioch"" declared: ""[I]t is an advantage to have the composer of ""H.M.S. Pinafore"" occupying himself with a worthier form of art."" Sullivan's knighthood in"
"young woman (not knowing that it is his mother – immortal fairies all appear young), she assumes the worst and sets off a climactic confrontation between the peers and the fairies. The opera satirises many aspects of British government, law and society. The confrontation between the fairies and the peers is a version of one of Gilbert's favourite themes: a tranquil civilisation of women is disrupted by a male-dominated world through the discovery of mortal love. ""Iolanthe"" opened in London on 25 November 1882, at the Savoy Theatre to a warm reception, and ran for 398 performances, the fourth consecutive"
"to the hubris of the Lord Chancellor: ""The Law is the true embodiment/Of everything that's excellent./It has no kind of fault or flaw/And I, My Lords, embody the Law."" ""The Ratepayers' Iolanthe"" was a 1984 musical adapted by Ned Sherrin and Alistair Beaton. Sherrin directed and won a Laurence Olivier Award for Outstanding Achievement in a Musical for the musical's ""conception"". The science fiction writer Isaac Asimov was a Gilbert and Sullivan fan. His Foundation Trilogy was conceived after his reading ""Iolanthe"" started a train of thought about military empires. Also, in ""Runaround"", a story in Asimov's ""I, Robot"", a"
"opera satirizes feminism, women's education and Darwinian evolution, all of which were controversial topics in conservative Victorian England. In the 15 years between the time that Gilbert wrote ""The Princess"" and the premiere of ""Princess Ida"", the movement for women's education had gained momentum in Britain, with the founding of Girton College (1869) and Newnham College (1871) at the University of Cambridge; and Somerville (1878) and Lady Margaret Hall (1878) at the University of Oxford. Westfield College in Hampstead, the University of London's first women's college, opened in 1882. As in ""Patience"" and ""Iolanthe"", the two previous Gilbert and Sullivan"
"and abridged novelisations of the Hetty Wainthropp series. In 1966, she sang the role of Mad Margaret in ""Ruddigore"", the title role in ""Iolanthe"", and Melissa in ""Princess Ida"", in a series of BBC Radio Gilbert and Sullivan recordings. She took part in a studio broadcast of Tchaikovsky's opera ""Vakula the Smith"" (narrating excerpts from the work by Gogol) in 1989. In 2006, she was featured in a programme of the ""Stage and Screen"" series on Radio 3. Routledge is an ambassador for age-positive charity Royal Voluntary Service, previously known as WRVS. Routledge has never married, has no children, and"
"from prose to song, with a number of popular nationalist ballads punctuating the narrative, when sung by different cast members. In this it mirrors the music hall tradition of Dublin both pre- and post-independence and anticipates the later (1960s) British satire on the First World War, the play ""Oh, What a Lovely War!"", created by Joan Littlewood's Theatre Workshop in 1963. MEN: Pat, Leslie (English Soldier) Mr. Mulleady, Monsewer, Rio Rita, PRINCESS GRACE, RUSSIAN, IRA OFFICER, IRA Feargus O`Connor (Volunteer). WOMEN: Meg, Teresa, Colette, Miss Gilchrist, Ropeen. The principal themes of the play are innocence set against the political motives"
"star singers and conductors. Pre-war opera was described by the historian Montague Haltrecht as ""international, dressy and exclusive"". During the war, the Royal Opera House was leased by its owners, Covent Garden Properties Ltd, to Mecca Ballrooms who used it profitably as a dance hall. Towards the end of the war, the owners approached the music publishers Boosey and Hawkes to see if they were interested in taking a lease of the building and staging opera (and ballet) once more. Boosey and Hawkes took a lease, and granted a sub-lease at generous terms to a not-for-profit charitable trust established to"
"Games and tartans, an obsession with raising statutes, and the adoption by a largely Protestant nation of the romantic Catholic icons Mary Queen of Scots and Bonnie Prince Charlie. In 1878, Flora took her place in this pantheon with an alleged 'Autobiography' written by her granddaughter, Flora Frances Wylde, containing so many inaccuracies that it could not have been written by her. Her memory was popularised by Sir Harold Boulton's 1884 composition 'The Skye Boat Song,' with a bronze statue of her being erected at Inverness Castle in 1896. Despite her Loyalist sympathies, a number of institutions were named after"
"Sullivan operas"". The National Operatic and Dramatic Association 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 company continued to, and still does, rent out band parts to companies around the world. After ""Patience"", the company produced ""Iolanthe"", which opened in 1882. During its run, in February 1883, Carte signed a five-year partnership agreement with Gilbert and Sullivan, obligating them to"
"of the prisoners after applying “the evolving standards of the maturing society”. Previously, the fictional ""Global War Crimes Tribunal"" ruled that Henry’s war was legal, no noncombatant was killed unlawfully, and Henry bore no criminal responsibility for the death of the POWs. The fictional ""French Civil Liberties Union"", who had instigated the tribunal, then attempted to sue in civil court. The judge concluded that he was bound by the GWCT’s conclusions of law and also ruled in favour of the English. The Court of Appeals affirmed without opinion, thus leaving the matter for the Supreme Court’s determination. The Chorus refers"
"to his opportunity, and we are disposed to account ""Iolanthe"" his best effort in all the Gilbertian series."" Similarly, the ""Theatre"" asserted that ""the music of ""Iolanthe"" is Dr Sullivan's ""chef d'oeuvre"". The quality throughout is more even, and maintained at a higher standard, than in any of his earlier works..."" ""Iolanthe"" is one of a number of Gilbert's works, including ""The Wicked World"" (1873), ""Broken Hearts"" (1875), ""Princess Ida"" (1884) and ""Fallen Fairies"" (1909), where the introduction of men and ""mortal love"" into a tranquil world of women wreaks havoc with the status quo. Gilbert had created several ""fairy"
"human institutions here existed, to the perverseness of which Mr. Godwin ascribes the original sin of the worst men. No opposition had been produced by them between public and private good. No monopoly had been created of those advantages which reason directs to be left in common. No man had been goaded to the breach of order by unjust laws. Benevolence had established her reign in all hearts: and yet in so short a period as within fifty years, violence, oppression, falsehood, misery, every hateful vice, and every form of distress, which degrade and sadden the present state of society,"
"group originally performed scenes from Gilbert and Sullivan operas with a sound system and a cast of nine people in outdoor performances and in nursing homes and hospitals around New York City, with borrowed costumes, set pieces and an electric piano from the New York Grand Opera, the Bloomingdale School of Music and other supporters. Their first indoor home was at the theatre in the B’nai Jeshurun Community Center. Bergeret designed and built the sets and acted as stage and musical director. In 1975, the company incorporated as a not-for-profit organization under the current name. At the beginning of 1976,"
"had 'The Act of Union' as well. Notably Wales retains a Foreign Legion, (referred to by Louie as ""the only real military"") which fought the Patagonian War, and had sufficient autonomy to have sponsored the 'Ysbyty Ystwyth' Experiment into neural reprogramming. In ""Don't Cry For Me Aberystwyth"" it is revealed that there is also a division of 'Welsh Intelligence', albeit run on the cheap (having devised the 'pie man' style of surveillance) who are running black ops against Mossad (again, on the cheap) to cover up Welsh errors during the Patagonian War. O levels and a grant system (instead of"
"courts did not enforce foreign copyrights. It also became popular as part of the Victorian tradition of ""benefit concerts"", where the theatrical community came together to raise money for actors and actresses down on their luck or retiring. The D'Oyly Carte Opera Company continued to play the work for a century, licensing the piece to amateur and foreign professional companies, such as the J. C. Williamson Gilbert and Sullivan Opera Company. Since the copyrights to Gilbert and Sullivan works ran out in 1961, the piece has been available to theatre companies around the world free of royalties. The work's enduring"
"father presented Rimsky-Korsakov's ""The Maid of Pskov"" and Borodin's ""Prince Igor"", with Chaliapin, and Stravinsky's ""The Nightingale."" During the First World War, Beecham strove, often without a fee, to keep music alive in London, Liverpool, Manchester and other British cities. He conducted for, and gave financial support to, three institutions with which he was connected at various times: the Hallé Orchestra, the LSO and the Royal Philharmonic Society. In 1915 he formed the Beecham Opera Company, with mainly British singers, performing in London and throughout the country. In 1916, he received a knighthood in the New Year Honours and succeeded"
"my Hospital tent was immediately in front of the General's. So plain were his habits that he was no burden to the Army for even when on the move his only requisition was a campstool. Other Generals such as Scott required a band of music, with a company of professional cooks and servants in attendance. – Steward John Bemrose Second Seminole War 1865. Clinch saw service during the Second Seminole War including the Battle of the Withlacoochee before resigning from the Army in 1836. He lived on a plantation near St. Mary's, Georgia. In an 1844 special election he was"
"Mascagni's ""Iris"", Cilea's ""L'arlesiana"", and many others. It is now considered one of the most accomplished non-state opera companies in the UK. The resident orchestra is the City of London Sinfonia. Each season around half a dozen operas are staged. Most of them are well known classics but the company has developed a reputation for producing works from the verismo repertoire and a very adventurous production policy. They are sung in the original language and surtitling is used. The venue and company are famed for a warm informality coupled with serious artistic intent and dedication. Pricing is determinedly accessible and"
"as a virtual paradise, is thrown into chaos by the importation of ""English"" influences, and is eventually saved by an English political expedience. Gilbert's biographer Jane Stedman calls this a ""Gilbertian invasion plot"". The opera's satiric treatment of limited liability entities that are not required to honour their obligations and scandal in the monarchy was effective in 1893 and still resonates today. In addition, the show satirises ""practically everything English – English prudery, English conversation, English company promoting, the English party system, the English War Office and Admiralty, the County Council, and the English Cabinet."" Apart from satirical elements, Gilbert"