Which Gilbert and Sullivan opera is subtitled, 'A Merryman And His Maid'?
"The Yeomen of the Guard The Yeomen of the Guard; or, The Merryman and His Maid, is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 3 October 1888, and ran for 423 performances. This was the eleventh collaboration of fourteen between Gilbert and Sullivan. The opera is set in the Tower of London, during the 16th century, and is the darkest, and perhaps most emotionally engaging, of the Savoy Operas, ending with a broken-hearted main character and two very reluctant engagements, rather than the usual numerous marriages."
"Sullivan and Gilbert Sullivan and Gilbert is a jukebox musical by Ken Ludwig with music and lyrics by Gilbert and Sullivan. ""Sullivan and Gilbert"" features over 15 Gilbert and Sullivan songs. It examines a fictional day in 1890 when the Victorian era composer and dramatist, while embroiled in their 1890 ""carpet quarrel"", are requested by Queen Victoria to present a revue of songs from their operas on short notice. The musical premiered in 1983 in Milford, New Hampshire, and it has been revived several times in various places in North America. ""Sullivan and Gilbert"" premiered in 1983 in Milford, New"
"to manage, and their producer, Richard D'Oyly Carte, micromanaging everything, the two men have much to argue about. But their admiration for each other as collaborators and friends triumphs. Sullivan and Gilbert Sullivan and Gilbert is a jukebox musical by Ken Ludwig with music and lyrics by Gilbert and Sullivan. ""Sullivan and Gilbert"" features over 15 Gilbert and Sullivan songs. It examines a fictional day in 1890 when the Victorian era composer and dramatist, while embroiled in their 1890 ""carpet quarrel"", are requested by Queen Victoria to present a revue of songs from their operas on short notice. The musical"
"everyone is simultaneously wishing he were one of the others – and consequently everyone is! [demonstrating Gilbert's] favourite theme of change of identity or personality."" As the original score is long lost, others have created their own, and Jonathan Strong's adaptation of Sullivan's non-Gilbert and Sullivan music may be heard on the video of the work by the Boston Massachusetts-based group, Royal Victorian Opera Company. Gilbert (who directed and designed his own shows) was busy in the days leading up to the opening of ""Happy Arcadia"": Four days before ""Happy Arcadia"" opened, Gilbert's one-act farce, ""A Medical Man"", opened at"
"the leading lady, Nancy McIntosh, and refused to write another piece featuring her; Gilbert insisted that she must appear in his next opera. Instead, Sullivan teamed up again with his old partner, F. C. Burnand. ""The Chieftain"" (1894), a heavily revised version of their earlier two-act opera, ""The Contrabandista"", flopped. Gilbert and Sullivan reunited one more time, after McIntosh announced her retirement from the stage, for ""The Grand Duke"" (1896). It failed, and Sullivan never worked with Gilbert again, although their operas continued to be revived with success at the Savoy. In May 1897 Sullivan's full-length ballet, ""Victoria and Merrie"
"His Excellency (opera) His Excellency is a two-act comic opera with a libretto by W. S. Gilbert and music by F. Osmond Carr. The piece concerns a practical-joking governor whose pranks threaten to make everyone miserable, until the Prince Regent kindly foils the governor's plans. Towards the end of the Gilbert and Sullivan partnership, Arthur Sullivan declined to write the music for this piece after Gilbert insisted on casting his protege, Nancy McIntosh, in the lead role; Sullivan and producer Richard D'Oyly Carte, proprietor of the Savoy Theatre, did not feel that McIntosh was adequate. The opera premiered instead under"
"the Gilbert and Sullivan operas. Al Goodman and Groucho Marx also released Gilbert and Sullivan recordings. The operas are referred to in other popular media, including video games. For example, in """", a casino is called ""Pirates in Men’s Pants"", a crude play on ""Pirates of Penzance"". The 1970s popular music singer Gilbert O'Sullivan adopted his stage name as a pun on ""Gilbert and Sullivan"" when his manager suggested that it would be good marketing. In the 1950s, the British radio show ""Take It From Here"" featured parodies of Gilbert and Sullivan songs with lyrics about the buses in London."
"the performance, however, news arrives of Sullivan's death. Some years later, Gilbert is finally knighted. The following additional singing voices were heard on the soundtrack: Elsie Morison, Marjorie Thomas, Owen Brannigan, Harold Williams, Muriel Brunskill, John Cameron and Jennifer Vyvyan. The Story of Gilbert and Sullivan The Story of Gilbert and Sullivan is a 1953 British technicolor film that dramatises the story of the collaboration between W. S. Gilbert and Arthur Sullivan. Gilbert and Sullivan wrote 14 comic operas, later referred to as the Savoy Operas, which became the most popular series of musical entertainments of the Victorian era and"
"Gaiety Theatre's suggestiveness and the prudery expected in the drawing room"". In the drawing room version, the song's little maid sat ""by"" Cousin Robin's knee, not ""on"" it. Rather than ""weary of his lover's play"", he became ""fickle as the month of May"". And rather than ""Cousin Richard came to woo"", it was ""till another came to woo."" ""Climbing over rocky mountain"" is the best known piece from ""Thespis"", as it was transplanted in 1879 into one of Gilbert and Sullivan's most successful operas, ""The Pirates of Penzance"". In 1902, Gilbert told a correspondent that this had happened accidentally. He"
"a defining part of Gilbert's work. His parodic pokes at grand opera continued to be seen in the Savoy operas. Gilbert's early burlesques were considered unusually tasteful, compared with the others on the London stage, and he would depart even further from the burlesque style after 1869, with plays containing original plots and fewer puns. These included his ""fairy comedies"", such as ""The Palace of Truth"" (1870) and ""Pygmalion and Galatea"" (1871), and his German Reed Entertainments, which led to the famous Gilbert and Sullivan operas. Gilbert further developed the ""Dulcamara"" tale in ""The Sorcerer"" (1877) and ""The Mountebanks"" (1892),"
"Gilbert and Sullivan Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which ""H.M.S. Pinafore"", ""The Pirates of Penzance"" and ""The Mikado"" are among the best known. Gilbert, who wrote the libretti for these operas, created fanciful ""topsy-turvy"" worlds where each absurdity is taken to its logical conclusion—fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as"
"V). The success of ""Dulcamara"" and ""La Vivandière"" had shown that Gilbert could write entertainingly in this form, peppered with the dreadful puns traditional in burlesques of the period. The libretti also, at times, show signs of the satire that would later be a defining part of his work. They led to Gilbert's more mature ""fairy comedies"", such as ""The Palace of Truth"" (1870) and ""Pygmalion and Galatea"" (1871), and Gilbert's six German Reed Entertainments which, in turn, led to the famous Gilbert and Sullivan operas. Although Gilbert gave up direct parodies of opera within a couple of years of"
"and The Two Ronnies' 1973 Christmas Special. Other comedians have used Gilbert and Sullivan songs as a key part of their routines, including Hinge and Bracket, Anna Russell, and the ""HMS Yakko"" episode of the animated TV series ""Animaniacs"". Songs from Gilbert and Sullivan are often pastiched in advertising, and elaborate advertising parodies have been published, as have the likenesses of various Gilbert and Sullivan performers throughout the decades. Gilbert and Sullivan comic operas are commonly referenced in literature, film and television in various ways that include extensive use of Sullivan's music or where action occurs during a performance of"
"is in love with another man. ""The Gondoliers"" was Gilbert and Sullivan's last great success. In this opera, Gilbert returns to the satire of class distinctions figuring in many of his earlier librettos. The libretto also reflects Gilbert's fascination with the ""Stock Company Act"", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, ""Utopia Limited"". As in several of their earlier operas, by setting the work comfortably far away from England, Gilbert was emboldened to direct sharper criticism at the nobility and the institution of the monarchy itself. ""The"
"some sharp satire at British imperialism, jingoism, the monarchy, party politics and other institutions that might have touched a more sensitive nerve if the opera had a British setting. In this work, Gilbert returns to the idea of an anti-Utopia, which he had explored, in various ways, in his early one-act operas, ""Happy Arcadia"", ""Our Island Home"", ""Topsyturveydom"", and some of his other early works, especially ""The Happy Land"". The previous Gilbert and Sullivan opera, ""The Gondoliers"", also concerns an imaginary island kingdom where the rules of court are considerably different from those in Britain. In ""Utopia"", the island begins"
"success, increased their reputations to an extent that will lead the musical public to look to them in future for work as epoch-making in its peculiar ""genre"" as that of Gilbert and Sullivan. Capt. Hood is the only writer of ""words for music"" whose lyrics can compare with those of Mr. Gilbert for finish, rhythmic piquancy, and verbal quaintness."" Another piece in 1902, ""My Pretty Maid"", starring Edward Terry, lasted less than two months. When ""Merrie England"" finished its second London run, German and Hood immediately followed it with ""A Princess of Kensington"" (1903) which ran for 115 performances and"
"in Gilbert's career, between 1866 and 1869. The first was ""Dulcamara, or the Little Duck and the Great Quack"", a musical spoof of Donizetti's ""L'elisir d'amore"" (1866). Next was ""La Vivandière; or, True to the Corps!"", a parody of Donizetti's ""La fille du régiment"" (1867). After ""The Merry Zingara"" came ""Robert the Devil"" (1868), parodying Meyerbeer's romantic opera ""Robert le diable"", and ""The Pretty Druidess; or, the Mother, the Maid, and the Mistletoe Bough"" (1869), a burlesque of Bellini's ""Norma"". ""The Merry Zingara"" premiered as the centrepiece in a triple bill. It was preceded by a ""domestic melodrama"", entitled ""Daddy"
"both actresses: Their home was 26 Canterbury Road, St Kilda, Victoria. Mrs. Ralston later lived with daughter Edna at ""Surrey Court"", 137 Ormond Road, Elwood, Victoria. Gilbert and Sullivan Australian compositions John Ralston (baritone) John Morgan Ralston (ca.1882 – 17 April 1933) was an Australian baritone (or perhaps bass-baritone) singer noted for his work in musical comedies and Gilbert and Sullivan operas. Ralston was born in Brisbane, Queensland, the second son of J Ralston. He began singing as a boy soprano at St. Mary's (Anglican) Church, Kangaroo Point, Brisbane in 1894 He began acting with Pollard’s Lilliputian Opera Company, led"
"Merrie England (opera) Merrie England is an English comic opera in two acts by Edward German to a libretto by Basil Hood. The patriotic story concerns love and rivalries at the court of Queen Elizabeth I, when a love letter sent by Sir Walter Raleigh to one of Queen Elizabeth’s Ladies in Waiting, Bessie Throckmorton, ends up in the hands of the Queen. Well-known songs from the opera include ""O Peaceful England"", ""The Yeomen of England"" and ""Dan Cupid hath a Garden"". It opened at the Savoy Theatre in London on 2 April 1902, under the management of William Greet,"
"The Story of Gilbert and Sullivan The Story of Gilbert and Sullivan is a 1953 British technicolor film that dramatises the story of the collaboration between W. S. Gilbert and Arthur Sullivan. Gilbert and Sullivan wrote 14 comic operas, later referred to as the Savoy Operas, which became the most popular series of musical entertainments of the Victorian era and are still popular today. The film was written by Leslie Baily, Sidney Gilliat and Vincent Korda, based on Baily's ""The Gilbert and Sullivan Book"". It was directed by Sidney Gilliat, with cinematography by Christopher Challis and production design by Hein"
"to a man's rude attentions, boxes his ears, which gives Point a moment to quieten and amuse the crowd. The two entertainers offer to perform the song of ""The Merryman and his Maid"": it tells of a lovelorn merryman who is jilted by a maiden in favour of an arrogant lord, but the latter rejects her, and she returns on her knees to the merryman to beg for his love, and all ends happily. The song over, the crowd grows unruly again, and violence is averted only by the Lieutenant's arrival. Point and Elsie introduce themselves and explain that Elsie's"
"cantata. He informs Sullivan that, if he would get around to finishing ""The Golden Legend"", Queen Victoria will attend the premiere. Likewise, when Gilbert calls on Sullivan, he sees him rehearsing ""The Golden Legend"", as Bennett stands watch. When Bennett dozes off, Sullivan turns back to ""The Mikado"". After both works debut, Sullivan is knighted. The Queen inquires if he will write a grand opera. Just before the premiere of their next opera, ""Ruddigore"", Sullivan asks Gilbert to write the libretto for his first grand opera. Gilbert declines, stating that in such a work the words play second fiddle to"
"and Sullivan before his arrival in the U.S. in 1886, their popularity led him to adopt some of their musical and dramatic sensibilities. An example of this is the quintet ""Cleopatra's Wedding Day"" from ""The Wizard of the Nile"". One of his early successes, ""The Serenade"", borrows many of its situations from ""Ruddigore"", ""Iolanthe"" and ""The Pirates of Penzance"". The work's librettist, Harry B. Smith, went on to steal more Gilbertian ideas for future operettas with Herbert, who often would complement these ideas with music reminiscent of Sullivan. ""The Singing Girl"", co-written by Smith and Stanislaus Stange, recalls ""The Mikado"","
"The libretto does contain considerable humour, including a lot of pun-laden one-liners, but Gilbert's trademark satire and topsy-turvy plot complications are subdued in comparison with the other Gilbert and Sullivan operas. The dialogue, though in prose, is quasi-Shakespearean, or early modern English, in style. Critics considered the score to be Sullivan's finest, including its overture, which is in sonata form, rather than being written as a sequential pot-pourri of tunes from the opera, as in most of the other Gilbert and Sullivan overtures. This was the first Savoy Opera to use Sullivan's larger orchestra, including a second bassoon and third"
"""Topsy-Turvy"" (1999) is an award-winning film depiction of the team and the creation of their most popular opera, ""The Mikado"". Another G&S film is the 1953 ""The Story of Gilbert and Sullivan"" (or ""The Great Gilbert and Sullivan"" in the U.S.), starring Robert Morley as Gilbert and Maurice Evans as Sullivan, with Martyn Green as George Grossmith. In a short 1950 film called ""The Return of Gilbert and Sullivan"", Gilbert and Sullivan return to Earth to protest the jazz treatment of their work. In the 1951 film ""The Magic Box"" Sir Arthur Sullivan, played by the film conductor, Muir Mathieson,"
"on a character in ""Woman's Gratitude"" (1869), represents another of Gilbert's favorite (and semi-autobiographical) satiric themes: the misshapen misanthrope whose forbidding ""face and form"" makes him unpopular although he represents the voice of reason and common sense. Gilbert also borrows from his 1870 opera, ""The Gentleman in Black"" which includes the device of baby-switching. Historian H. M. Walbrook wrote in 1921 that ""Pinafore"" ""satirizes the type of nautical drama of which Douglas Jerrold's ""Black-Eyed Susan"" is a typical instance, and the 'God's Englishman' sort of patriotism which consists in shouting a platitude, striking an attitude, and doing little or nothing"
"Gilbert and Sullivan that prevented the revival, and Gilbert's insistence upon her appearing in his 1894 opera, ""His Excellency"", caused Sullivan to refuse to set the piece. After ""His Excellency"" closed in April 1895, McIntosh wrote to Sullivan informing him that she planned to return to concert singing, and so the obstacle to his further collaboration with Gilbert was removed. Meanwhile, Sullivan had written a comic opera for the Savoy Theatre with F. C. Burnand, ""The Chieftain"", but that had closed in March 1895. Gilbert had begun working on the story of ""The Grand Duke"" in late 1894. Elements of"
"Gilbert and Sullivan works as operettas. ""Patience"" (1881) was the first opera to appear at the Savoy Theatre, and thus, in a strict sense, the first true ""Savoy Opera"", although the term ""Savoy Opera"" has, for over a century, included the complete set of thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte: During the years when the Gilbert and Sullivan (“G&S”) operas were being written, Richard D'Oyly Carte produced operas by other composer–librettist teams, either as curtain raisers to the G&S pieces, or to fill the theatre when no G&S piece was available. To their contemporaries, the"
"and the oratorio ""The Light of the World"" (Birmingham Festival, 1873). He provided incidental music for productions of ""The Merry Wives of Windsor"" at the Gaiety in 1874 and ""Henry VIII"" at the Theatre Royal, Manchester, in 1877. He continued to compose hymns throughout the decade. In 1873 Sullivan contributed songs to Burnand's Christmas ""drawing room extravaganza"", ""The Miller and His Man"". In 1875 the manager of the Royalty Theatre, Richard D'Oyly Carte, needed a short piece to fill out a bill with Offenbach's ""La Périchole"". Carte had conducted Sullivan's ""Cox and Box"". Remembering that Gilbert had suggested a libretto"
"firmly and finally into the world of the musical"" stage and confirmed, after his previous success with ""Cox and Box"" and ""Thespis"", that ""Sullivan was a composer of light lyric and comic music who could rival Offenbach, Lecocq and any English musician alive."" Sullivan used the opportunities suggested by Gilbert's satire of the pomp and ceremony of the law to provide a variety of musical jokes. ""From the first chords ... Sullivan's music sets the scene of mock-seriousness... His ... humorous use of the orchestra runs throughout"". For example, counterpointing the plaintiff's calculated swooning in ""That she is reeling is"
"and Sullivan works in 1961, and especially since the Sadler's Wells production and recording, various directors have experimented with restoring some or all of the cut material in place of the 1920s D'Oyly Carte version. After ""The Mikado"" opened in 1885, Gilbert, as usual, promptly turned his thoughts to finding a subject for a next opera. Some of the plot elements of ""Ruddigore"" had been introduced by Gilbert in his earlier one-act opera, ""Ages Ago"" (1869), including the tale of the wicked ancestor and the device of the ancestors stepping out of their portraits. Heinrich Marschner's 1828 opera, ""Der Vampyr"","
"production was broadcast on BBC2 television on 27 December 1965, but the recording is believed lost. Several professional productions have been recorded on video by the International Gilbert and Sullivan Festival since 2000. Oscar Brand and Joni Mitchell recorded ""Prithee Pretty Maiden"" for the Canadian folk music TV program ""Let's Sing Out"", broadcast by CBC Television in 1966. Patience (opera) Patience; or, Bunthorne's Bride, is a comic opera in two acts with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera is a satire on the aesthetic movement of the 1870s and '80s in England and, more"
"The ""Daily Telegraph""'s review of ""Yeomen"" was very admiring of Sullivan's efforts: ""The Times"" noted, ""It should... be acknowledged that Mr. Gilbert has earnestly endeavoured to leave familiar grooves and rise to higher things."" Some reviewers, however, suggested that Gilbert took too much of his story from William Vincent Wallace's 1845 opera, ""Maritana"", in which a street singer is married in secret to a gentleman. Another antecedent of ""Yeomen"" is Gilbert's 1875 tragedy, ""Broken Hearts"". There, the love triangle among Prince Florian, Lady Vavir and the hunchbacked servant Mousta parallels the triangle in ""Yeomen"" among Fairfax, Elsie and Point. The"