Which Gilbert and Sullivan opera has the alternate title 'The Peer and the Peri'?
"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"
"work was the sumptuous ballet ""La Péri"" (1912). Described by the composer as a ""poème dansé"", it depicts a young Persian prince who travels to the ends of the Earth in a quest to find the lotus flower of immortality, finally encountering its guardian, the Péri. Gilbert and Sullivan's 1882 operetta ""Iolanthe"" is subtitled ""The Peer and the Peri."" However the ""peris"" in this work are also referred to as ""fairies"" and have little in common with peris in the Persian sense. A peri, whose power is in her hair, appears in Elizabeth Ann Scarborough's 1984 novel ""The Harem of"
"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"
"influences, and emboldened by the success of ""Trial by Jury"", Carte formed a syndicate in 1877 to perform ""light opera of a legitimate kind"". Gilbert and Sullivan were commissioned to write a new comic opera, ""The Sorcerer"", starting the series that came to be known as the Savoy Operas (named for the Savoy Theatre, which Carte later built for these works) that included ""H.M.S. Pinafore"", ""The Pirates of Penzance"" and ""The Mikado"", which became popular around the world. The D'Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982. The Gilbert and Sullivan"
"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"
"Gilbert and Sullivan collaboration and introduced the much-parodied ""Major-General's Song"". The opera was performed for over a century by the D'Oyly Carte Opera Company in Britain and by many other opera companies and repertory companies worldwide. Modernized productions include Joseph Papp's 1981 Broadway production, which ran for 787 performances, winning the Tony Award for Best Revival and the Drama Desk Award for Outstanding Musical, and spawning many imitations and a 1983 film adaptation. ""Pirates"" remains popular today, taking its place along with ""The Mikado"" and ""H.M.S. Pinafore"" as one of the most frequently played Gilbert and Sullivan operas. ""The Pirates"
"opera actually concerns Yeomen Warders, who are guardians of the Tower of London (and the crown jewels) and are selected for this position as a reward for long and meritorious service to the crown. Today, they act as tour guides at the Tower of London. The Yeomen Warders are often incorrectly referred to as Yeomen of the Guard, which is actually a distinct corps of royal bodyguards. Gilbert shared this confusion (or didn't care to be precise in the matter) by naming the opera ""The Yeomen of the Guard"". However, Gilbert and Sullivan were careful to replicate the historical Tower"
"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 Gilbert and Sullivan comic operas would be known as the Savoy Operas, and both fans and performers of Gilbert and Sullivan would come to be known as ""Savoyards."" ""Patience"" was the sixth operatic collaboration of fourteen between Gilbert and Sullivan. It ran for a total of 578 performances, which was seven more than the authors' earlier work, ""H.M.S. Pinafore"", and the second longest run of any work of musical theatre up to that time, after the operetta ""Les Cloches de Corneville"". The opera is a satire on the aesthetic movement of the 1870s and '80s in England, part of"
"(of Gilbert and Sullivan) operatic burlesque Robert the Devil is a parody of Robert le diable, a romantic grand opera by Meyerbeer, which is mentioned in the prologue to ""Phantom of the Opera"". These pieces were very popular among the lower class, but not commonly seen by more sophisticated opera goers. According to W. J. MacQueen-Pope: Like most burlesques, ""Robert the Devil"" featured women in scanty costumes and breeches roles. In operas, these were always supporting roles. The pageboy role in the second ""opera"" within ""Phantom of the Opera"" is a breeches role, like the part of Cherubino, the Count's"
"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"
"to make it to the theatre to conduct. He goes on a holiday to Continental Europe hoping that the rest will improve his health. While he is away, ticket sales and audiences at the Savoy Theatre wilt in the hot summer weather. Producer Richard D'Oyly Carte (Ron Cook) has called on Sullivan and the playwright W. S. Gilbert (Jim Broadbent) to create a new piece for the Savoy, but it is not ready when ""Ida"" closes. Until a new piece can be prepared, Carte revives an earlier Gilbert and Sullivan work, ""The Sorcerer"". Gilbert's idea for their next opera features"
"success with Gilbert: ""His ideas are as suggestive for music as they are quaint and laughable. His numbers ... always give me musical ideas."" ""Pinafore"" was followed by ""The Pirates of Penzance"" in 1879, which opened in New York and then ran in London for 363 performances. In 1880 Sullivan was appointed director of the triennial Leeds Music Festival. He had earlier been commissioned to write a sacred choral work for the festival and chose, as its subject, Henry Hart Milman's 1822 dramatic poem based on the life and death of St. Margaret of Antioch. Gilbert adapted the libretto for"
"in New York and London), there are more variations in the early libretto and score of ""The Pirates of Penzance"" than in other Gilbert and Sullivan works. Songs sent from New York to the D'Oyly Carte touring company in England for the Paignton premiere were then altered or omitted during Broadway rehearsals. Gilbert and Sullivan trimmed the work for the London premiere, and Gilbert made further alterations up to and including the 1908 Savoy revival. For example, early versions depicted the Pirate King as the servant of the pirate band, and the words of the opening chorus were, ""Pour, O"
"later be a defining part of his work. These led to Gilbert's more mature ""fairy comedies"", such as ""The Palace of Truth"" (1870) and ""Pygmalion and Galatea"" (1871), which in turn led to the famous Gilbert and Sullivan operas. Although Gilbert gave up direct parodies of opera soon after ""Robert"", his parodic pokes at grand opera continued to be seen in the Savoy operas. The title character, a breeches role, was played as an insouciant ""swell"" by Nellie Farren, who became famous as the theatre's ""principal boy"". Gilbert later renounced ""travesti"" roles and revealing dresses on his actresses, and made"
"Golden Legend"" in 2001. In 1992 and 1993, Naxos released four discs featuring performances of Sullivan's ballet music and his incidental music to plays. Of his operas apart from Gilbert, ""Cox and Box"" (1961 and several later recordings), ""The Zoo"" (1978), ""The Rose of Persia"" (1999), and ""The Contrabandista"" (2004) have had professional recordings. In recent decades, several publishers have issued scholarly critical editions of Sullivan's works, including Ernst Eulenburg (""The Gondoliers""), Broude Brothers (""Trial by Jury"", ""H.M.S. Pinafore"" and ""Iolanthe""), David Russell Hulme for Oxford University Press (""Ruddigore""), Robin Gordon-Powell at The Amber Ring (""The Masque at Kenilworth"", the"
"and Sullivan Festival in England. Since the 1990s, the opera, and productions of it, have sometimes drawn criticism from the Asian-American community as promoting ""simplistic orientalist stereotypes"". In 2014, after a production in Seattle, Washington, drew national attention to such criticism, the Gilbert biographer Andrew Crowther wrote that ""The Mikado"" ""does not portray any of the characters as being ""racially inferior"" or indeed fundamentally any different from British people. The point of the opera is to reflect British culture through the lens of an invented ""other"", a fantasy Japan that has only the most superficial resemblance to reality."" For example,"
"work for the theatre was ""The Peer and the Pauper"", an imitation of Gilbert and Sullivan operas which were then popular in the U.S. His ""Burlesque Opera of Tabasco"" was an outlet for his own wry wit, featuring a humorous plot, comically named characters, and popular-style music. It opened in New York in 1894 and toured the United States for a year. The ""Grove Encyclopedia"" says it offered: ""...a veritable anthology of popular styles, including a 'Plantation Ballad', a Spanish 'Bolero', an Irish 'Ditty' and a French 'Rigaudon', most of them designed as set pieces to show off the talents"
"recording of ""The Rose of Persia"" was released in 1963 by St. Albans Amateur Operatic Society. Another recording was made in 1985 by Prince Consort, and one was produced for BBC Music Magazine in 1999. Although the BBC recording is the most professionally produced, many fans prefer the earlier recordings. The Rose of Persia The Rose of Persia; ""or, The Story-Teller and the Slave"", is a two-act comic opera, with music by Arthur Sullivan and a libretto by Basil Hood. It premiered at the Savoy Theatre on 29 November 1899, closing on 28 June 1900 after a profitable run 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"
"Faris conducted video recordings of eleven of the operas (omitting the last two) with casts including show-business stars as well as professional singers. Joseph Papp's Broadway production of ""The Pirates of Penzance"" was put on record in 1981. Since 1994, the International Gilbert and Sullivan Festival has released numerous professional and amateur CDs and videos of its productions. Ohio Light Opera has recorded several of the operas in the 21st century. In the past 125 years, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world, and lines and quotations from their operas have become part of the"
"place a piece like this on the stage in so complete a fashion."" The opera enjoyed a run longer than any of their other joint works except for ""H.M.S. Pinafore"", ""Patience"" and ""The Mikado"". There was a command performance of ""The Gondoliers"" for Queen Victoria and the royal family at Windsor Castle in 1891, the first Gilbert and Sullivan opera to be so honoured. ""The Gondoliers"" was Gilbert and Sullivan's last great success. Gilbert and Sullivan sometimes had a strained working relationship, partly caused by the fact that each man saw himself as allowing his work to be subjugated to"
"Gilbert and Sullivan Society of Victoria (now known as Gilbert & Sullivan Opera Victoria). Amateur groups in Britain produced the piece regularly through the 1920s and occasionally thereafter. A concert of the opera was performed by Valley Light Opera in Amherst, Massachusetts on 8 March 2008 with a narration written by Jonathan Strong. This was the first known U.S. performance of the opera with full orchestra since 1902. For much of the 1890s, impresario Richard D'Oyly Carte and his wife Helen Carte had struggled to find successful shows to fill the Savoy. They finally found a winning formula in ""The"
"to commission another full-length opera from the team. Gilbert and Sullivan scored their first international hit with ""H.M.S. Pinafore"" (1878), satirising the rise of unqualified people to positions of authority and poking good-natured fun at the Royal Navy and the English obsession with social status (building on a theme introduced in ""The Sorcerer"", love between members of different social classes). As with many of the Gilbert and Sullivan operas, a surprise twist changes everything dramatically near the end of the story. Gilbert oversaw the designs of sets and costumes, and he directed the performers on stage. He sought realism in"
"the Gilbert and Sullivan comic tradition, except for the mistaken identities and the fact that the opera was written for the same opera company and its regular performers. The plot is not reminiscent of Gilbert's topsy-turvy style, nor is there any obvious satiric point. With its Irish jigs and broad comedy, the work was more at home in the musical comedy style that had become prevalent on the London stage by the end of the 1890s. Sullivan's music, while containing much to admire, is ""reminiscent rather than fresh"", while German's contributions to the score, though partly imitative of Sullivan, marked"
"in Northern Africa and the Christian states of the Mediterranean, especially Genoa. The theme is the sorrows and separations that are always incidental to war. The central characters are a sailor and his love, who are separated when he goes to battle, and later reunited. The final chorus, ""Sink and Scatter, Clouds of War,"" was later renamed ""The Song of Peace"" and was played separately as a concert item. The same year as ""On Shore and Sea"" premiered, W. S. Gilbert first worked together with Sullivan, on a burleque-style comic opera, ""Thespis"". Four years later, in 1875, Gilbert and Sullivan's"
"is more often heard than the original overture by Clarke. Toye's ""Pirates"" overture, however, did not last long and is now presumed lost. Sir Malcolm Sargent devised a new ending for the overture to ""The Gondoliers"", adding the ""cachucha"" from the second act of the opera. This gave the ""Gondoliers"" overture the familiar fast-slow-fast pattern of most of the rest of the Savoy Opera overtures, and this version has competed for popularity with Sullivan's original version. Gilbert and Sullivan operas have been translated into many languages, including Portuguese, Yiddish, Hebrew, Swedish, Dutch, Danish, Estonian, Hungarian, Russian, Japanese, French, Italian, Spanish"
"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"","
"earlier opera attacks it more aggressively, offending audiences with which that idea was popular. Gilbert acknowledged that his position as a dramatist was similar to one of ""a refreshment contractor who has engaged to supply a meal of one dish at which all classes of the community are to sit down"", since he needed to suit needs of both ""butcher-boy in the gallery"" and ""epicure in the stalls""; Crowther argues that he did not succeed as well at this in ""The Sorcerer"" as in some of the later works. The opera establishes several important patterns for future Gilbert and Sullivan"
"their repertories. In 1980, a Broadway and West End production of ""Pirates"" produced by Joseph Papp brought new audiences to Gilbert and Sullivan. Between 1988 and 2003, the revived D'Oyly Carte Opera Company revived the operas on tour and on the West End. Today, many professional repertory companies, such as NYGASP, Opera della Luna, Opera a la Carte, National Gilbert & Sullivan Opera Company Opera North, Ohio Light Opera and other small opera companies, and numerous amateur societies, churches, schools and universities continue to produce the works. The most popular G&S works also continue to be performed from time to"
"varied score includes lilting Viennese waltz music. During the production of Gilbert and Sullivan's 1889 comic opera, ""The Gondoliers"", Gilbert became embroiled in a legal dispute with producer Richard D'Oyly Carte over the cost of a new carpet for the Savoy Theatre and, more generally, over the accounting for expenses of the Gilbert and Sullivan partnership. Sullivan sided with Carte (who was about to produce Sullivan's grand opera, ""Ivanhoe""), and the partnership disbanded. After ""The Gondoliers"" closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The lawsuit left"
"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."
"copyrights over their operas. ""Pirates"" 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, Paignton, Devon, organised by Helen Lenoir. The next Gilbert and Sullivan opera, ""Patience"", 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 Aesthetic movement of the 1870s and '80s in England, part"