"Ellmann suggests that Wilde is a partial model for both Bunthorne and his rival Grosvenor. Carte, the producer of ""Patience"", was also Wilde's booking manager in 1881 as the poet's popularity took off. In 1882, after the New York production of ""Patience"" opened, Gilbert, Sullivan and Carte sent Wilde on a US lecture tour, with his green carnation and knee-breeches, to explain the English aesthetic movement, intending to help popularise the show's American touring productions. Although a satire of the aesthetic movement is dated today, fads and hero-worship are evergreen, and ""Gilbert’s pen was rarely sharper than when he invented"
"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"
"written, the company also produced operas by other composer–librettist teams, 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 ""Patience"" in London and its 100th performance in New York shows that, aside from these two productions of ""Patience"", Carte was simultaneously producing two companies touring with ""Patience"", two companies touring with other Gilbert and Sullivan operas, a company touring with ""Olivette"" (co-produced"
"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, usurping Pinafore's position as the longest running piece in the series with the second-longest run in musical theatre history. ""Patience"" satirised the self-indulgent aesthetic movement of the 1870s and '80s in England. To popularise the opera in America, in 1882 Carte sent one of the artistes under his management, the young poet Oscar Wilde, on a lecture tour"
"October, ""Patience"" transferred to the new, larger, state-of-the-art Savoy Theatre, built with the profits of the previous Gilbert and Sullivan works. The rest of the partnership's collaborations were produced at the Savoy, and are widely known as the ""Savoy operas"". ""Iolanthe"" (1882), the first new opera to open at the Savoy, was Gilbert and Sullivan's fourth hit in a row. Sullivan, despite the financial security of writing for the Savoy, increasingly viewed the composition of comic operas as unimportant, beneath his skills, and also repetitious. After ""Iolanthe"", Sullivan had not intended to write a new work with Gilbert, but he"
"first revival of Gilbert and Sullivan's 1881 hit, ""Patience"", a run of 102 performances. No printed libretto or vocal score is found in British Library, although the licence copy of the libretto is there. The music appears to have been added for the Savoy Theatre production, as it is not indicated in the licence copy. When the Gilbert and Sullivan partnership disbanded after the production of ""The Gondoliers"" in 1889, impresario Richard D'Oyly Carte filled the Savoy Theatre with a combination of new works (several of which were composed by Arthur Sullivan) and revivals of the Gilbert and Sullivan operas."
"was in 1900, making it the last of the revivals for which all three partners (Gilbert, Sullivan, and D'Oyly Carte) were alive. At that time, Gilbert admitted some doubts as to whether the æsthetic subject would still be appreciated, years after the fad had died out. Gilbert wrote to Sullivan after the premiere of this revival (which the composer was too ill to attend), ""The old opera woke up splendidly."" In the British provinces, ""Patience"" played – either by itself, or in repertory – continuously from summer 1881 to 1885, then again in 1888. It rejoined the touring repertory in"
"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"
"Russell Hulme that was included on the 1994 new D'Oyly Carte Opera Company recording. ""Note on topical references:"" Songs and dialogue in ""Patience"" contain many topical references to persons and events of public interest in 1881. In particular, the Colonel's song, Act I, item 3a above, is almost entirely composed of such references. The of the opera contains links explaining these references. The original run of ""Patience"" in London, split across two theatres, was the second longest of the Gilbert and Sullivan series, eclipsed only by ""The Mikado"". The original sets were designed by John O'Connor. Its first London revival"
"based partly on the satiric cartoons of George du Maurier in ""Punch"" magazine. ""The Colonel"" beat ""Patience"" to the stage by several weeks, but ""Patience"" outran Burnand's play. According to Burnand's 1904 memoir, Sullivan's friend the composer Frederic Clay leaked to Burnand the information that Gilbert and Sullivan were working on an ""æsthetic subject"", and so Burnand raced to produce ""The Colonel"" before ""Patience"" opened. Modern productions of ""Patience"" have sometimes updated the setting of the opera to an analogous era such as the hippie 1960s, making a flower-child poet the rival of a beat poet. The two poets in"
"mother died rather suddenly. By the end of July 1882, Gilbert had supplied Sullivan with lyrics to several of the songs, and Sullivan began work setting them to music. Over the next two months, Sullivan met Gilbert to discuss the libretto as more lyrics were completed. Music rehearsals began in September, and staging began in October, scheduled around performances of Gilbert and Sullivan's previous opera, ""Patience"", which had transferred to the Savoy Theatre a year earlier. Sullivan was still composing more numbers for the opera until 20 October, with a few modifications continuing into early November. Uncharacteristically, Sullivan composed the"
"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"
"that other elements of the piece anticipate the Savoy Operas, including babies switched at birth and a self-decapitation. Gilbert's casting of the large, ungainly Richard Corney Grain as the ""spirit of romance"" was a joke that foreshadowed his casting of the rather large Rutland Barrington as the image of perfect manly beauty in ""Patience"". Like some of Gilbert's other pieces for German Reed, most of the original score of ""A Sensation Novel"" is lost – four songs survive – although there have been re-settings by other composers. One such re-setting by Mike Nash was produced in 1998 at The International"
"Patience and Sarah (opera) Patience and Sarah is a 1998 opera by Paula M. Kimper. The libretto is by Wende Persons, based on the novel of the same name by Isabel Miller. It has been described as the first lesbian opera and as the first mainstream gay-themed opera. Persons began writing the libretto in 1981, after a lesbian opera singer, upon whom Persons had a crush, mentioned that she had trouble identifying with the straight characters she played. ""She never got to be who she really was and sing of her love for women,"" Persons says. ""I thought about it"
"locations. Laure Meloy, who premiered the role of Rachel, has often sung Patience in these performances and concerts. ""I Want To Live,"" Patience and Sarah's Act II duet, appears on ""Lesbian American Composers"", the third album in Composers Recordings, Inc.'s ""Gay American Composers"" series. ""Patience and Sarah"" was revived in 2016 as part of New York Pride, with a reduced orchestration by the composer. Kimper said that the new orchestration ""might make it more accessible to colleges and theatres and other alternative venues besides opera houses."" The plot of the opera follows that of the novel fairly closely, with the"
"and architectural patterns—and capturing the city's unique atmospherics. In 1940 Whistler was commemorated on a United States postage stamp when the U.S. Post Office issued a set of 35 stamps commemorating America's famous Authors, Poets, Educators, Scientists, Composers, Artists, and Inventors: the 'Famous Americans Series'. The Gilbert and Sullivan operetta ""Patience"" pokes fun at the Aesthetic movement, and the lead character of Reginald Bunthorne is often identified as a send-up of Oscar Wilde, though Bunthorne is more likely an amalgam of several prominent artists, writers, and Aesthetic figures. Bunthorne wears a monocle and has prominent white streaks in his dark"
"much money for the actor-manager Edgar Bruce that he was able to build the Prince of Wales Theatre. Burnand rushed ""The Colonel"" into production to make sure that it opened several months before Gilbert and Sullivan's similarly themed comic opera, ""Patience"", but ""Patience"" ran even longer than ""The Colonel"". Oscar Wilde, no fan of Burnand's farces, wrote, in anticipation of seeing ""Patience"": ""With Gilbert and Sullivan I am sure we will have something better than the dull farce of ""The Colonel"""". For the Gaiety Theatre, Burnand wrote a burlesque of ""The Tempest"" entitled ""Ariel"" in October 1883, with music by"
"Sullivan. ""The Martyr of Antioch"" was first performed in October 1880. A grateful Sullivan presented his collaborator with an engraved silver cup inscribed ""W.S. Gilbert from his friend Arthur Sullivan."" Sullivan was not a showy conductor, and some thought him dull and old-fashioned on the podium, but his composition had an enthusiastic reception and was frequently revived. Besides his festival and other conducting appointments, Sullivan invariably conducted the opening nights of the Gilbert and Sullivan operas. Carte opened the next Gilbert and Sullivan piece, ""Patience"", in April 1881 at London's Opera Comique, where their past three operas had played. In"
"of the opera. In 1880, Sullivan's cantata ""The Martyr of Antioch"" premiered at the Leeds Triennial Music Festival, with a libretto modified by Gilbert from an 1822 epic poem by Henry Hart Milman concerning the 3rd century martyrdom of St. Margaret of Antioch. Sullivan became the conductor of the Leeds festival beginning in 1880 and conducted the performance. The Carl Rosa Opera Company staged the cantata as an opera in 1898. ""Patience"" (1881) satirised the aesthetic movement in general and its colourful poets in particular, combining aspects of Algernon Charles Swinburne, Dante Gabriel Rossetti, Oscar Wilde, James McNeill Whistler and"
"Thomson, and said that Kimper set the libretto ""great sensitivity to the cadences of natural speech."" Kozinn and Jorden both observed that the opera was too long. Persons's libretto was generally viewed favorably. Specific excerpts that drew praise were Sarah's ""gorgeous, Ravelian aria"" in Act II and ""a charming and dramatically sensitive setting of the Lord's Prayer and a tear-jerking ballad for the lovesick Parson."" ""I Want To Live"" was also described as having ""Ravel-like harmonies."" Patience and Sarah (opera) Patience and Sarah is a 1998 opera by Paula M. Kimper. The libretto is by Wende Persons, based on the"
"operas. Many of these were companion pieces to the Gilbert and Sullivan operas, as the Victorian audiences preferred long evenings in the theatre. Some, however, were new full-length pieces either for the Savoy or for Carte's touring companies, which toured the Gilbert and Sullivan operas, and these new works, extensively. Carte and Lenoir also continued to run his management agency. As an example of their level of activity, an 1881 souvenir programme commemorating the 250th performance of ""Patience"" in London and its 100th performance in New York states that, in addition to these two productions of ""Patience"", Carte was simultaneously"
"hit by Gilbert and Sullivan. It was the first work to premiere at the Savoy (although ""Patience"" had transferred to the theatre in 1881) and was the first new theatre production in the world to be illuminated entirely with electric lights, permitting some special effects that had not been possible in the era of gas lighting. The opera opened simultaneously in New York, and touring companies were sent around the UK and US to play the piece. The first Australasian touring production followed in 1885, and the opera was revived in London beginning in 1901. The D'Oyly Carte Opera Company"
"of writing."" The influential theatrical newspaper ""The Era"" found the plot ""singularly deficient"" in interest, but praised ""the smartness of the dialogue"" and the ""easy and fluent"" music, though judging it as having ""but little originality."" ""The Manchester Guardian"" reported, ""The entire work is a close imitation of Messrs. Gilbert and Sullivan's method. This is to be regretted, for the peculiar humour of ""The Sorcerer"" and ""Patience"" cannot be successfully copied."" The cast, including W. J. Hill, Walter H. Fisher and W. S. Penley, received generally excellent notices. The work was produced in New York in October 1882, under Solomon's"
"Patience and Sarah Patience and Sarah is a 1969 historical fiction novel with strong lesbian themes by Alma Routsong, using the pen name Isabel Miller. It was originally self-published under the title ""A Place For Us"" and eventually found a publisher as ""Patience and Sarah"" in 1971. Routsong's novel is based on a real-life painter named Mary Ann Willson who lived with her companion Miss Brundage as a ""farmerette"" in the early 19th century in Greene County, New York. Routsong said she came upon Willson's work in a folk art museum in Cooperstown and was inspired to write the story"
"Phyllis, are ""Arcadian"" shepherds. Phyllis, like Chloe, is torn between two suitors. The character of Lycidas also anticipates the character of Archibald Grosvenor in ""Patience"", who is cursed with perfect beauty. This work is the fifth in a series of six one-act musical plays written by Gilbert for Thomas German Reed and his wife Priscilla between 1869 and 1875. The German Reeds presented respectable, family-friendly musical entertainments at their Gallery of Illustration beginning in 1855, at a time when the theatre in Britain had gained a poor reputation as an unsavory institution and was not attended by much of the"
"the principal boy in ""Sinbad the Sailor"" at Melbourne, which she accepted, and the pantomime had great success, running for 14 weeks and earning Stewart some recognition. In 1881 she was Griolet in ""La fille du tambour-major"" and the Countess in ""Olivette"". During the next 13 years, Stuart was to take leading parts in 35 comic operas. In December 1883, she played the title role in Gilbert and Sullivan's ""Patience"". As principal boy in the following Christmas pantomime, Stewart was careless when climbing the beanstalk, fell and broke her arm, had it set in the theatre, and completed the part."
"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"
"George Grossmith, used Swinburne's velvet jacket, the painter James McNeill Whistler's hairstyle and monocle, and knee-breeches like those worn by Oscar Wilde and others. According to Gilbert's biographer Edith Browne, the title character, Patience, was made up and costumed to resemble the subject of a Luke Fildes painting. ""Patience"" was not the first satire of the aesthetic movement played by Richard D'Oyly Carte's company at the Opera Comique. Grossmith himself had written a sketch in 1876 called ""Cups and Saucers"" that was revived as a companion piece to ""H.M.S. Pinafore"" in 1878, which was a satire of the blue pottery"
"order"" in a concert in October 1878. He played Schumann's Piano Concerto at the Crystal Palace in 1880, receiving more encouragement from ""The Times"": ""A finer rendering of the work has seldom been heard."" Also in 1880, d'Albert arranged the piano reduction for the vocal score of Sullivan's sacred music drama ""The Martyr of Antioch"", to accompany the chorus in rehearsal. He is also credited with writing, under Sullivan's direction, the overture to Gilbert and Sullivan's 1881 opera, ""Patience"". For many years, d'Albert dismissed his training and work during this period as worthless. ""The Times"" wrote that he ""was born"
"Richard D'Oyly Carte mounted a production at the Standard Theatre in September 1881, six months after the London premiere. One of the ""pirated"" American productions of ""Patience"" starred the young Lillian Russell. In Australia, the opera's first authorised performance was on 26 November 1881 at the Theatre Royal, Sydney, produced by J. C. Williamson. ""Patience"" entered the repertory of the English National Opera in 1969, in an acclaimed production with Derek Hammond-Stroud as Bunthorne. The production was later mounted in Australia and was preserved on video as part of the Brent Walker series. In 1984, ENO also took the production"
"producing many other projects. These included two companies touring with ""Patience"", two touring with other Gilbert and Sullivan operas, one touring with the operetta ""Olivette"" (co-produced with Charles Wyndham), one with ""Claude Duval"" in America, a production of ""Youth"" running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of ""Patience"", ""Pirates"", ""Claude Duval"" and ""Billee Taylor"" in association with J. C. Williamson in Australia, among other things. Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing the works' popularity and the"
"operas, ""Princess Ida"" concerns the war between the sexes. In ""Patience"", the aesthetic-crazed women are contrasted with vain military men; in ""Iolanthe"", the vague and flighty fairies (women) are pitted against the ineffective, dim-witted peers (men); and in ""Ida"", overly serious students and professors at a women's university (women) defy a marriage-by-force ultimatum by a militaristic king and his testosterone-laden court (men). ""Princess Ida"" is one of several Gilbert plays, including ""The Wicked World"", ""Broken Hearts"", ""Fallen Fairies"" and ""Iolanthe"", where the introduction of males into a tranquil world of women brings ""mortal love"" that wreaks havoc with the status"
"the National Academy of Television Arts and Sciences on June 15, 2009. Patience and Sarah Patience and Sarah is a 1969 historical fiction novel with strong lesbian themes by Alma Routsong, using the pen name Isabel Miller. It was originally self-published under the title ""A Place For Us"" and eventually found a publisher as ""Patience and Sarah"" in 1971. Routsong's novel is based on a real-life painter named Mary Ann Willson who lived with her companion Miss Brundage as a ""farmerette"" in the early 19th century in Greene County, New York. Routsong said she came upon Willson's work in a"