Who in 1890, composed the music for the opera 'Ivanhoe'?
"that later critics, some of whom probably never saw the work, tended to be dismissive. In 2008, Robin Gordon-Powell edited a full score and orchestral parts for the opera, published by The Amber Ring. Since the original performance materials were destroyed in the 1964 fire at the Chappell & Co. warehouse, an authentic score and parts had not been available. This score was used by Chandos in the 2010 recording. Notes Sources Further reading Ivanhoe (opera) Ivanhoe is a romantic opera in three acts based on the novel by Sir Walter Scott, with music by Sir Arthur Sullivan and a"
"complex story does not really move forward with any operatic satisfaction."" While Sturgis worked on ""Ivanhoe"", Sullivan was composing ""The Gondoliers"", with a libretto by Gilbert, for the Savoy Theatre. After ""The Gondoliers"" opened and Sullivan took his annual holiday in Monte Carlo, he finally began the composition of ""Ivanhoe"" in May 1890, finishing the score in December 1890. Chorus rehearsals for ""Ivanhoe"" began in November, with Alfred Cellier as chorus master, and his brother François Cellier became musical director of the new theatre. In April 1890, Gilbert challenged Carte over partnership expenses at the Savoy Theatre, including a new"
"Ivanhoé Ivanhoé is an 1826 pastiche opera in three acts with music by Gioachino Rossini to a French-language libretto by Émile Deschamps and Gabriel-Gustave de Wailly, after Walter Scott's novel of the same name. The music was adapted, with the composer's permission, by the music-publisher Antonio Pacini from Rossini's operas, namely ""Semiramide"", ""La Cenerentola"", ""La gazza ladra"", and ""Tancredi"" in order to introduce his music to Paris. An examination of the score shows that Pacini also used music from ""Bianca e Faliero"", ""Armida"", ""Maometto II"", ""Aureliano in Palmira"", ""Sigismondo"", ""Torvaldo e Dorliska"", ""Mosè in Egitto"" and an amount of newly"
"the producer had to pay performers, crew and others, while the theatre sat empty. Sullivan was required to pay Carte a contractual penalty of £3,000 for his delay. ""Ivanhoe"" and The Royal English Opera House opened on 31 January 1891, with the Prince and Princess of Wales and other members of the royal family in attendance. The production was lavish: An orchestra of 64 players, 72 choristers and 120 supernumeraries were employed. Percy Anderson designed the costumes, Hawes Craven and others designed the sets, staging was by Hugh Moss, and François Cellier and Ernest Ford alternated as conductors. Ford also"
"and late Victorian era light operas, notably the Savoy Operas of Gilbert and Sullivan, both of which frequently spoofed operatic conventions. Sullivan wrote only one grand opera, ""Ivanhoe"" (following the efforts of a number of young English composers beginning about 1876), but he claimed that even his light operas were to be part of an ""English"" opera school, intended to supplant the French operettas (usually in bad translations) that had dominated the London stage throughout the 19th century into the 1870s. London's ""Daily Telegraph"" agreed. Sullivan produced a few light operas in the late 1880s and 1890s that were of"
"the age of 64. Charles Kenningham Charles Kenningham (18 November 1860 – 24 October 1925) was an English opera singer and actor best remembered for his roles in the 1890s with the D'Oyly Carte Opera Company. After singing as a boy soprano, Kenningham briefly served in the 5th Dragoon Guards. After nearly five years' service as a tenor at Canterbury Cathedral, he performed in Arthur Sullivan's grand opera ""Ivanhoe"" in 1891. He then became principal tenor with the D'Oyly Carte Opera Company until 1898. There he created several roles, including the tenor roles in the last two Gilbert and Sullivan"
"1874, producing novels, poetry, plays and libretti. He wrote the words for four operas, with music by Arthur Goring Thomas, Arthur Sullivan, Alexander Mackenzie and Charles Villiers Stanford, respectively. He is, perhaps, best remembered as the librettist for Sullivan's 1891 opera ""Ivanhoe"". Sturgis was born in Boston, Massachusetts, the fourth son of merchant and lawyer Russell Sturgis and his third wife, Julia Overing ""née"" Boit (1820–1888). His great-grandfather was another Russell Sturgis, and his older half-brother was John Hubbard Sturgis. When Julian was seven months old, the family moved to England, where Russell Sturgis joined Baring Brothers in London. The"
"opera, ""Ivanhoe"" (1891), is an adaptation of Walter Scott's long patriotic novel of the same title. Most critics praised the libretto. Bernard Shaw was an exception, accusing Sturgis of ""wanton debasement of a literary masterpiece"", turning ""Scott's noble dialogue"" into ""fustian"". ""The Times"" praised Sturgis's ""remarkable fidelity and skill"". ""The Observer"" also found his work skilful. ""The Manchester Guardian"" said that Sullivan was fortunate in his librettist, who ""show[ed] himself capable of depicting ideas and events in a few words, and those words replete with rhythmical vigour and poetic beauty as well as significance of meaning."" Sullivan's friend the critic"
"that of the composer, and that the public would, in any case, not accept a serious work from his pen. Gilbert recommended Julian Sturgis to write the libretto. Sturgis had written the libretto for ""Nadeshda"" by Arthur Goring Thomas (1885), which had been produced with success by Carl Rosa. ""Ivanhoe"" had been treated operatically previously, including an 1826 pastiche opera with music by Rossini and operas by Marschner in 1829, Pacini in 1832 and Nicolai in 1840. Both Sullivan and the critics noted that Scott's novel, with its many scenes, would make for a complex adaptation. Sturgis set to work"
"1890 he sang in a concert with Miss Emily M'Laughlin at the Steinway Hall in London, while in October 1890 he sang in a concert with Marie Roze in The Athenaeum in Hartlepool, and for whom he was one of a quartet of vocalists billed as 'The Meister Singers'. From January to June 1891 Saxon created the role of Friar Tuck in the romantic opera ""Ivanhoe"" by Arthur Sullivan and Julian Sturgis at the Royal English Opera House, reprising the role when the opera was revived for six performances in November 1891. The critic of ""The Times"" wrote of his"
"Charles Kenningham Charles Kenningham (18 November 1860 – 24 October 1925) was an English opera singer and actor best remembered for his roles in the 1890s with the D'Oyly Carte Opera Company. After singing as a boy soprano, Kenningham briefly served in the 5th Dragoon Guards. After nearly five years' service as a tenor at Canterbury Cathedral, he performed in Arthur Sullivan's grand opera ""Ivanhoe"" in 1891. He then became principal tenor with the D'Oyly Carte Opera Company until 1898. There he created several roles, including the tenor roles in the last two Gilbert and Sullivan operas. He was also"
"of which was to be Sullivan's forthcoming grand opera. Gilbert won the dispute and felt vindicated, but his actions had been hurtful to his partners, and the partnership disbanded. Carte's first production at the Royal English Opera House was of Sullivan's only grand opera, ""Ivanhoe"", which opened in January 1891. It played for an initial run of 155 performances, a record for an opera, but no other operas shared the new opera house with it. Instead, ""Ivanhoe"" was presented every night with alternating casts. When ""Ivanhoe"" finally closed in July, Carte had no new work ready to play at the"
"carpet for the lobby. To Gilbert's surprise and indignation, Sullivan sided with Carte – after all, Carte was producing his opera – and Gilbert sued Carte and Sullivan in May. The lawsuit was ongoing during much of the period of composition of ""Ivanhoe"", and Sullivan wrote to Gilbert in September 1890 that he was ""physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds"". Sullivan completed the score too late to meet Carte's planned production date, and costs mounted as"
"intended to supplant the French operettas (usually performed in bad translations) that had dominated the London stage from the mid-19th century into the 1870s. London's ""Daily Telegraph"" agreed, describing ""The Yeomen of the Guard"" as ""a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage"". Sullivan produced a few light operas in the 1890s that were of a more serious nature than those in the G&S series, including ""Haddon Hall"" and ""The Beauty Stone"", but ""Ivanhoe"" (which ran for 155 consecutive performances, using alternating casts—a record until Broadway's"
"on ""Ivanhoe"" in the spring or early summer of 1889. The libretto uses some of the language directly from the novel and does not change the basic story. However, in condensing the lengthy and action-packed novel for a stage work, the libretto relies on the audience's knowledge of the novel and omits many scenes, also entirely omitting the characters of Gurth the Swineherd, Oswald, Cedric's manservant, some of King John's advisors, and Athelstane the Unready, among others. Richard Traubner, writes in ""Opera News"", that ""Sturgis's libretto, given his quotes from Scott and the quasi-medieval English, is still sketchy, and the"
"to broadcast in Ireland at the opening of the new Irish radio station (Raidio 2RN – now R.T.É.). He and his wife had five children, Eileen, Nora, Power, Moya and Joey. O'Mara died in Dublin at the age of 63. Joseph O'Mara Joseph O'Mara (16 July 1864 – 5 August 1927) was an Irish opera singer of the Victorian and Edwardian eras. After studying opera in Milan, Italy, he made his London stage debut in 1891 in the tenor title role of the opera ""Ivanhoe"" by Arthur Sullivan and soon appeared in other operas. In 1894 he first appeared at"
"House in December 1888, and he commissioned Sullivan to write the venture's inaugural work. George Bernard Shaw wondered, in August 1889, about the wisdom of building a new opera house when the three existing ones (Royal Opera House, Her Majesty's Theatre and the Theatre Royal, Drury Lane), were underutilised. During 1890, Carte contacted several composers, including Frederick Cowen, asking them to compose operas to succeed ""Ivanhoe"" in the new house. Sullivan asked his usual collaborator, W. S. Gilbert to supply the libretto for a grand opera, but Gilbert declined, writing that in grand opera the librettist's role is subordinate to"
"music for West End productions of several Shakespeare plays and held conducting and academic appointments. Sullivan's only grand opera, ""Ivanhoe"", though initially successful in 1891, has rarely been revived. In his last decade Sullivan continued to compose comic operas with various librettists and wrote other major and minor works. He died at the age of 58, regarded as Britain's foremost composer. His comic opera style served as a model for generations of musical theatre composers that followed, and his music is still frequently performed, recorded and pastiched. Sullivan was born in Lambeth, London, the younger of the two children, both"
"R. Scott Fishe Robert Scott Fishe (12 February 1871 – 31 August 1898) was an English operatic baritone and actor best remembered for creating roles in the 1890s with the D’Oyly Carte Opera Company. As a boy, Fishe was a chorister with the Chapel Royal. After beginning his professional stage career, he was hired in 1891 by Richard D'Oyly Carte for the chorus of Arthur Sullivan's grand opera ""Ivanhoe"". He soon toured in South America with other D'Oyly Carte artistes, performing in comic operas and surviving a shipwreck off the coast of Chile. In 1892, Fishe played leading roles with"
"Avon Saxon Avon Dawson Saxon (c. 1857 – 24 March 1909) was a Canadian operatic and concert singer who created the role of Friar Tuck in the romantic opera ""Ivanhoe"" (1891) by Arthur Sullivan and Julian Sturgis and Francal in ""Mirette"" by André Messager at the Savoy Theatre in 1894. Avon Saxon was born in Grand-Pré near Windsor in Nova Scotia where his father had a farm, and was named after the River Avon. His brother George Saxon served as an officer in the United States Army. After the death of his father his mother married a Mr. Benjamin. Through"
"Traubner, writing in ""Opera News"", disagrees: """"Ivanhoe"" ... reflects the ballad-rich British grand operas Sullivan grew up with, by Balfe (""The Bohemian Girl"") or Wallace (""Maritana""). The skill and flair Sullivan exhibits in the Savoy operettas in humor, gaiety and superb word-setting are barely required in ""Ivanhoe"". It sounds instead like an extension of the hoary oratorio form popular in Victorian Britain ... with its plethora of hymn-like numbers interspersed with ballads of no particular interest and some strong ensembles."" Traubner continues, ""Sullivan's score would have been wonderful for a film, with its numerous Korngoldian fanfares and stirring, very English-national"
"a more serious nature than most of the G&S series, including ""The Yeomen of the Guard"", ""Haddon Hall"" and ""The Beauty Stone"", but ""Ivanhoe"" (which ran for 155 consecutive performances, using alternating casts—a record then and now) survives as his only real grand opera. Late in the century composers such as Isidore de Lara, Delius and Dame Ethel Smyth, owing to the difficulties of getting serious English operas staged at home, caused in part by the popularity of light opera, turned to the Continent to seek their fortune, with De Lara becoming very popular in France and in Italy (his"
"de Rome for his cantata, ""Ivanhoé"" set to a French text by Victor Roussy based on Walter Scott's 1820 novel, ""Ivanhoe"". The cantata premiered on 18 November 1864 at the Paris Opera with Jean Morère in the title role and was well received. ""Ivanhoé"" proved to be Sieg's only major composition, although he later published several piano pieces including ""Trois Impromptus"", ""Tarentelle"" and ""Caprice-Valse"". After he returned from Rome where he had worked on composing an opéra-comique, he took up a post in Paris as organist at the church of Notre-Dame de Clignancourt and devoted himself to teaching. He also"
"of the Opera Comique of Paris, from whom he is divorced.<br>Saxon was picked up by Policeman Corevan of the Charles Street Station, who noticed his acting strangely on Sixth Avenue, near the Court House."" He died in March 1909 in the home of his half-brother Luther Benjamin in Berwick, Nova Scotia aged 52 after several months of illness. Avon Saxon Avon Dawson Saxon (c. 1857 – 24 March 1909) was a Canadian operatic and concert singer who created the role of Friar Tuck in the romantic opera ""Ivanhoe"" (1891) by Arthur Sullivan and Julian Sturgis and Francal in ""Mirette"" by"
"composers, as well as those of Mozart, Beethoven, and Meyerbeer, continued to dominate the musical stage in England. The only exceptions were ballad operas, such as John Gay's ""The Beggar's Opera"" (1728), musical burlesques, European operettas, and late Victorian era light operas, notably the Savoy Operas of W. S. Gilbert and Arthur Sullivan, all of which types of musical entertainments frequently spoofed operatic conventions. Sullivan wrote only one grand opera, ""Ivanhoe"" (following the efforts of a number of young English composers beginning about 1876), but he claimed that even his light operas constituted part of a school of ""English"" opera,"
"Ivan Caryll Félix Marie Henri Tilkin (12 May 1861 – 29 November 1921), better known by his pen name Ivan Caryll, was a Belgian composer of operettas and Edwardian musical comedies in the English language. He composed (or contributed to) some forty musical comedies and operettas. Caryll's career encompassed three eras of the musical theatre, and unlike some of his contemporaries, he adapted readily to each new development. After composing a few musical burlesques, his first great successes were made in light musical comedies, epitomised by the George Edwardes productions at London's Gaiety Theatre, such as ""The Shop Girl"", ""The"
"Sullivan's grand opera, ""Ivanhoe"", which opened Richard D'Oyly Carte's Royal English Opera House. Ford also arranged the piano score for ""Ivanhoe"". While serving as music director at the Savoy, Ford wrote the music for a one-act curtain raiser, ""Mr. Jericho"", that premiered there in March 1893. The piece has a libretto by Harry Greenbank. In May of the same year, Ford supplied the music for the full-length J. M. Barrie and Arthur Conan Doyle comic opera, ""Jane Annie"", a flop that nevertheless toured until September of that year. Later, Ford became musical director of the Trafalgar Theatre in London. There,"
"and Sullivan sided with Carte, going so far as to sign an affidavit that contained erroneous information about old debts of the partnership. Gilbert took legal action against Carte and Sullivan, vowing to write no more for the Savoy, and so the partnership came to an acrimonious end. Sullivan wrote to Gilbert in September 1890 that he was ""physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds"". Sullivan's only grand opera, ""Ivanhoe"", based on Walter Scott's novel, opened at"
"1895, and a production in Berlin in November 1895 that generated no further interest. A concert performance was given at the Crystal Palace in 1903. Then, apart from two performances in Sir Thomas Beecham's 1910 season at the Royal Opera House, ""Ivanhoe"" disappeared from the professional repertory. The opera was broadcast twice on BBC Radio in 1929, with the London Wireless Orchestra conducted by Percy Pitt, who had conducted the 1910 performances. Stanford Robinson conducted another broadcast between the wars. The few modern performances of the music have included a concert by the Boston Academy of Music on 23 November"
"arranged the piano score for ""Ivanhoe"". In the opening night programme, Carte set forth his goals: I am endeavouring to establish English Grand Opera at the New Theatre which I have built... Whether [the experiment] will succeed or not depends on whether there is a sufficient number of persons interested in music and the drama who will come forward and fill the theatre... I have made arrangements with other distinguished composers and authors to write operas to follow ""Ivanhoe"", which operas will be produced if the enterprise is a pecuniary success. The intention is to 'run' each opera, that is"
"Carte's new Royal English Opera House on 31 January 1891. Sullivan completed the score too late to meet Carte's planned production date, and costs mounted; Sullivan was required to pay Carte a contractual penalty of £3,000 () for his delay. The production lasted for 155 consecutive performances, an unprecedented run for a grand opera, and earned good notices for its music. Afterwards, Carte was unable to fill the new opera house with other opera productions and sold the theatre. Despite the initial success of ""Ivanhoe"", some writers blamed it for the failure of the opera house, and it soon passed"
"part. He would have been superb. However, plans were altered and the Dutchman was shelved."" After a season of performances by Sarah Bernhardt, Carte was forced to sell the theatre. A consortium led by Sir Augustus Harris purchased the house, renaming it the Palace Music Hall and later the Palace Theatre of Varieties. The building is known today as the Palace Theatre. There was a successful touring revival of ""Ivanhoe"" by the Carl Rosa Opera Company from December 1894 to June 1895 in a cut version (the opera originally ran almost four hours) and then again in the autumn of"
"Ivanhoe (1913 American film) Ivanhoe is a 1913 American silent adventure/drama film starring King Baggot, Leah Baird, Herbert Brenon, Evelyn Hope, and Walter Craven. Directed by Herbert Brenon and produced by Carl Laemmle's Independent Moving Pictures after IMP was absorbed into the newly founded Universal, which was the distributor, the screenplay was adapted by Brenon based on the epic historical novel of the same title by Sir Walter Scott, 1819. One of the first expeditions abroad, ""Ivanhoe"" was filmed on location in the United Kingdom. A copy of this early feature length production is preserved at the Museum of Modern"