268:
589:
listen ("Come walk up"). Just as
Bunthorne is handing the bag to the unattractive Jane, ready for the worst, Patience interrupts the proceedings and proposes to unselfishly sacrifice herself by loving the poet ("True Love must single-hearted be"). A delighted Bunthorne accepts immediately, and his followers, their idol lost, return to the Dragoons to whom they are engaged ("I hear the soft note of the echoing voice"). All seems resolved until Grosvenor enters and the ladies, finding him poetic, aesthetic, and far more attractive than Bunthorne, become his partisans instead ("Oh, list while we a love confess"), much to the dismay of the Dragoons, Patience, Bunthorne and especially Grosvenor himself.
558:, appear ("The soldiers of our Queen"), led by Colonel Calverley ("If you Want a Receipt for that Popular Mystery"), Major Murgatroyd, and the ordinary but immensely rich Lieutenant the Duke of Dunstable. They arrive ready to propose marriage, only to discover their intendeds fawning over Bunthorne, who is in the throes of poetical composition, pretending to ignore the attention of the ladies thronging around him ("In a doleful train"). Bunthorne reads his poem and departs, while the officers are coldly rebuffed and mocked by the ladies, who turn up their noses at the sight of their red and yellow uniforms. The Dragoons, reeling from the insult, depart ("When I first put this uniform on").
570:
566:("Long years ago"). Lady Angela rhapsodises upon love as the one truly unselfish pursuit in the world. Impressed by her eloquence, Patience promises to fall in love at the earliest opportunity. Serendipitously, Archibald Grosvenor arrives; he is another aesthetic poet who turns out to be Patience's childhood love. He has grown to be the infallible, widely loved "Archibald the All-Right" ("Prithee, pretty maiden"). The two declare themselves in love but are brought up short by the realisation that as Grosvenor is a perfect being, for Patience to love him would be a selfish act, and therefore not true love; thus, they must part.
610:
half-holiday from their cloying attentions. Bunthorne is furious when
Patience confesses her affection for Grosvenor; she laments the bitter lesson she has learned about love ("Love is a plaintive song"). Bunthorne longs to regain his former admirers' admiration; Jane offers her assistance ("So go to him, and say to him"). The Dragoon officers attempt to earn their partners' love by appearing to convert to the principles of aestheticism ("It's clear that mediaeval art"). Angela and Saphir are favourably impressed and accept Calverly and Murgatroyd in matrimony; Dunstable graciously bows out ("If Saphir I choose to marry").
614:
an ordinary man; the ladies follow him into ordinariness, becoming "matter-of-fact young girls." Patience realises that
Grosvenor has lost his perfection, and so it will no longer be selfish for her to marry him, which she undertakes to do without delay. The ladies, following suit, return to their old fiancés among the Dragoons. In the spirit of fairness, Dunstable chooses the "plain" Lady Jane as his bride for her very lack of appeal. Bunthorne is left with the "vegetable love" that he had (falsely) claimed to desire. Thus, "Nobody Bunthorne's bride."
541:
121:
1909:
390:
of aesthetic poet rivals proved to be a fertile subject for topsy-turvy treatment. He both mocks and joins in
Buchanan's criticism of what the latter calls the poetic "affectations" of the "fleshly school" – their use of archaic terminology, archaic rhymes, the refrain, and especially their "habit of accenting the last syllable in words which in ordinary speech are accented on the penultimate." All of these poetic devices or "mediaevalism's affectations", as Bunthorne calls them, are parodied in
626:
728:
419:
903:. Its first London revival 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."
804:
3561:
360:
692:
879:
3189:
3571:
29:
682:
652:
2836:
672:
2337:"Violoncello" is specified in the original libretto, though in the original production a double bass was used (see Alice Barnett photograph), an instrument specified in the licence copy and first American libretto of the opera. Subsequent productions have varied in their choice of cello, double bass or a similar prop. See
613:
Bunthorne threatens
Grosvenor with a dire curse unless he undertakes to become perfectly commonplace. Intimidated, and also pleased at the excuse to escape the celebrity caused by his "fatal beauty", Grosvenor agrees ("When I go out of door"). This plot backfires, however, when Grosvenor reappears as
409:
consumes as much oxygen as many people, and causes great heat beside. The incandescent lamps consume no oxygen, and cause no perceptible heat." When the electrical system was ready for full operation, in
December 1881, Carte stepped on stage to demonstrate the safety of the new technology by breaking
389:
Lady Jane advises
Bunthorne to tell Grosvenor: "Your style is much too sanctified – your cut is too canonical!" Later, Grosvenor agrees to change his lifestyle by saying, "I do it on compulsion!" – the very words used by the Reverend Hopley Porter in the Bab Ballad. Gilbert's selection
588:
himself off among his lady followers ("Let the merry cymbals sound"), the proceeds going to charity. The
Dragoons interrupt the proceedings, and, led by the Duke, attempt to reason with the ladies ("Your maiden hearts, ah, do not steel"), but the ladies are too busy clamouring for raffle tickets to
553:
In front of Castle
Bunthorne, a group of "lovesick maidens" are all in love with the aesthetic poet Bunthorne ("Twenty lovesick maidens we"). Lady Jane, the oldest and plainest of them, announces that Bunthorne, far from returning their affections, has his heart set on the simple milkmaid Patience.
235:
The two poets in the opera are given to reciting their own verses aloud, principally to the admiring chorus of rapturous maidens. The style of poetry
Bunthorne declaims strongly contrasts with Grosvenor's. The former's, emphatic and obscure, bears a marked resemblance to Swinburne's poetry in its
565:
is a sham and mocks the movement's pretensions ("If you're anxious for to shine"). Seeing Patience, he reveals that, like her, he does not like poetry, but she tells him that she cannot love him. Later, Lady Angela, one of Bunthorne's admirers, explores with Patience the latter's childhood crush
609:
Lady Jane, accompanying herself on the cello, laments the passing of the years and expresses hope that Bunthorne will "secure" her before it is too late ("Silvered is the raven hair"). Meanwhile, Grosvenor wearily entertains the ladies ("A magnet hung in a hardware shop") and begs to be given a
642:
405:, the first public building in the world lit entirely by electric light. Carte explained why he had introduced electric light: "The greatest drawbacks to the enjoyment of the theatrical performances are, undoubtedly, the foul air and heat which pervade all theatres. As everyone knows, each
662:
3192:
910:
played – either by itself, or in repertory – continuously from summer 1881 to 1885, then again in 1888. It rejoined the touring repertory in 1892 and was included in every season until 1955–56. New costumes were designed in 1907 by
795:
This was originally followed by a song for the Duke, "Though men of rank may useless seem." The orchestration survives in Sullivan's autograph score, but without a vocal line. There have been several attempts at a reconstruction, including one by
355:
opened, Carte sent Wilde on a yearlong US lecture tour, with his knee breeches, long hair and other idiosyncratic styling, to discuss poetry and the English aesthetic movement, intending to help popularise the show's American touring productions.
248:. Gilbert scholar Andrew Crowther comments, "Bunthorne was the creature of Gilbert's brain, not just a caricature of particular Aesthetes, but an original character in his own right." The makeup and costume adopted by the first Bunthorne,
599:
162:
values over moral or social themes in literature, fine art, the decorative arts, and interior design. Called "Art for Art's Sake", the movement valued its ideals of beauty above any pragmatic concerns. Although the output of poets,
1916:
Of the recordings of this opera, the 1961 D'Oyly Carte Opera Company recording (with complete dialogue) has been the best received. Two videos, Brent Walker (1982) and Australian Opera (1995), are both based on the respected
693:
554:
Patience appears and confesses that she has never loved anyone; she is thankful that love has not turned her miserable as it has them ("I cannot tell what this love may be"). Soon, the ladies' old sweethearts, the 35th
167:
and designers was prolific, some argued that the movement's art, poetry and fashion was empty and self-indulgent. That the movement was so popular and also so easy to ridicule as a meaningless fad helped make
370:
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 Reginald Bunthorne". Gilbert originally conceived
927:
debuted in 1957. The opera returned to its regular place in the repertory, apart from a break in 1962–63. Late in the company's history, it toured a reduced set of operas to reduce costs.
653:
866:
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
673:
64:
of the 1870s and '80s in England and, more broadly, on fads, superficiality, vanity, hypocrisy and pretentiousness; it also satirises romantic love, rural simplicity and military bluster.
1098:
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's 1982 closure:
3447:
3437:
968:
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 on tour to the
2185:
Browne, p. 93, identifies Fildes's "first successful paining", "Where are you going to, my pretty maid?"; Browne may have meant the Fildes painting of the milk maid "Betty":
97:
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,
375:
as a tale of rivalry between two curates and of the doting ladies who attended upon them. The plot and even some of the dialogue were lifted straight out of Gilbert's
267:
3452:
3225:
3574:
325:, who were considerably more famous than Wilde in early 1881 before Wilde published his first volume of poetry. Rossetti had been attacked for immorality by
3410:
1926:
714:
Overture (includes "Turn, oh turn, in this direction", "So go to him and say to him", and "Oh list while we a love confess"). The Overture was prepared by
3405:
379:"The Rival Curates." While writing the libretto, however, Gilbert took note of the criticism he had received for his very mild satire of a clergyman in
3442:
969:
3595:
3427:
2053:
569:
2632:
2432:
2305:
3126:
3041:
3022:
3001:
2978:
2921:
2876:
2857:
3420:
1925:
television on 27 December 1965, but the recording is believed lost. Several professional productions have been recorded on video by the
2258:, including Gilbert's satiric use of the poetic devices criticised in Robert Williams Buchanan's essay "The Fleshly School of Poetry",
3218:
2528:
Temple was replaced in the role on 8 October 1881, the last night at the Opera Comique, by Walter Browne. See the classified ad for
278:
According to Gilbert's biographer Edith Browne, the title character, Patience, was made up and costumed to resemble the subject of a
2403:
3600:
2038:
385:, and looked about for an alternative pair of rivals. Some remnants of the Bab Ballad version do survive in the final text of
3620:
2685:
540:
3605:
3564:
3385:
3211:
1132:
3163:
351:, was also Wilde's booking manager in 1881 as the poet's popularity took off. In 1882, after the New York production of
2109:
noted: "By this time the stage is thickly sown all over with a crop of lilies and sunflowers". June 18, 1881, p. 598,
931:
had its final D'Oyly Carte performances in April 1979 and was left out of the company's last three seasons of touring.
394:. For example, accenting the last syllable of "lily" and rhyming it with "die" parodies two of these devices at once.
2105:
317:, but this identification is retrospective. According to some authorities, Bunthorne is inspired partly by the poets
3415:
2835:
2217:
900:
318:
164:
893:
in London, split across two theatres, was the second longest of the Gilbert and Sullivan series, eclipsed only by
770:
4. "In a doleful train two and two we walk" (Angela, Ella, Saphir, Bunthorne, and Chorus of Maidens and Dragoons)
313:
A popular misconception holds that the central character of Bunthorne, a "Fleshly Poet," was intended to satirise
2023:
1153:
912:
108:
120:
1398:
326:
307:
1908:
3400:
3342:
3300:
3255:
2260:
335:
287:
3395:
3059:
1918:
1557:
1087:
First Savoy repertory season; played with three other operas. Closing date shown is of the entire season.
961:
347:
suggests that Wilde is a partial model for both Bunthorne and his rival Grosvenor. Carte, the producer of
322:
253:
2238:
3477:
3101:
The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
2230:
946:. In Australia, the opera's first authorised performance was on 26 November 1881 at the Theatre Royal,
938:
in September 1881, six months after the London premiere. One of the "pirated" American productions of
3075:
Jones, John B. (Winter 1965). "In Search of Archibald Grosvenor: A New Look at Gilbert's "Patience"".
1960:
1982 Brent Walker Productions (video) – Ambrosian Opera Chorus, London Symphony Orchestra; Conductor:
3615:
3234:
2440:
2423:
2302:
965:
867:
209:
84:
79:
on 10 October 1881, where it was the first theatrical production in the world to be lit entirely by
3509:
3051:
1965:
1177:
797:
2422:, a great Gilbert and Sullivan fan, played the silent role of Mr. Bunthorne's Solicitor in a 1985
3533:
3485:
3084:
1954:
1866:
1528:
1450:
1220:
1210:
174:
1950:
1961 D'Oyly Carte (with dialogue) – New Symphony Orchestra of London; Conductor: Isidore Godfrey
3168:
3122:
3104:
3037:
3018:
2997:
2974:
2955:
2936:
2917:
2895:
2872:
2853:
2543:
2419:
2338:
2003:
1986:
1848:
1748:
1743:
1698:
1690:
1038:
935:
920:
727:
715:
426:
418:
183:
91:, and both fans and performers of Gilbert and Sullivan would come to be known as "Savoyards."
2631:
Morey is President of the Gilbert and Sullivan Society in London. See also Ffrench, Andrew.
2186:
2079:
979:
The following table shows the history of the D'Oyly Carte productions in Gilbert's lifetime:
158:
of the 1870s and '80s in England, part of the 19th-century European movement that emphasised
3541:
3525:
3063:
1871:
1830:
1771:
1766:
1660:
1478:
1445:
1413:
1408:
1403:
1195:
951:
363:
359:
296:
271:
249:
241:
188:
126:
3610:
3501:
3356:
3293:
3272:
3250:
2689:
2436:
2407:
2309:
2033:
2028:
1961:
1945:
1939:
1876:
1804:
1615:
1488:
1331:
1205:
943:
882:
573:
422:
344:
302:
204:
outran Burnand's play. According to Burnand's 1904 memoir, Sullivan's friend the composer
143:
99:
49:
2496:
2342:
2099:
In fact, many stage works prior to 1881 had satirised the aesthetic craze. A review of
803:
3432:
3363:
3349:
2968:
2888:
2397:
2202:
1991:
1843:
1713:
1708:
1346:
1263:
684:
When I go out of door ... I'm a Waterloo House young man ... After much debate internal
555:
330:
245:
103:, and the second longest run of any work of musical theatre up to that time, after the
80:
2949:
2536:, 8 October 1881, p. 6. Temple remained at the Opera Comique to play King Portico in
2321:
2278:
3589:
3546:
3517:
3279:
3245:
3012:
2911:
2682:
2538:
1981:
1825:
1718:
1541:
1536:
1336:
1323:
1300:
1020:
1002:
973:
744:
740:
602:
489:
439:
402:
291:
205:
179:
139:
76:
68:
53:
3182:
755:
2. "Still brooding on their mad infatuation" (Patience, Saphir, Angela, and Chorus)
3321:
3286:
2820:
2346:
1973:
1995 Australian Opera (video) – Conductor: David Stanhope; Stage Director: John Cox
1895:
1817:
1733:
1670:
1665:
1597:
1592:
1587:
1501:
1496:
1473:
1468:
1463:
1426:
1310:
1305:
1281:
1228:
1182:
1172:
1140:
924:
916:
812:
808:
577:
562:
406:
381:
155:
88:
61:
22:
2157:
3142:
2794:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
2760:, The Gilbert and Sullivan Discography, 16 November 2001, retrieved 2 August 2016
2743:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
2709:, The Gilbert and Sullivan Discography, 8 September 2008, retrieved 2 August 2016
691:
671:
651:
3469:
3390:
3380:
2907:
2839:
2804:
2666:
2274:
1977:
1861:
1758:
1738:
1723:
1685:
1675:
1602:
1271:
1258:
1200:
376:
314:
279:
261:
224:
have sometimes updated the setting of the opera to an analogous era such as the
45:
2990:
2787:
2770:
2753:
2736:
2719:
2702:
2673:, The Gilbert and Sullivan Discography, 5 April 2003, retrieved 30 October 2017
2490:
1921:
production first seen in the 1970s. A D'Oyly Carte production was broadcast on
878:
3328:
2811:, The Gilbert and Sullivan Discography, 13 April 2009, retrieved 2 August 2016
1354:
895:
705:
3108:
2959:
2940:
2899:
2777:, The Gilbert and Sullivan Discography, 5 April 2009, retrieved 2 August 2016
2726:, The Gilbert and Sullivan Discography, 11 July 2009, retrieved 2 August 2016
2656:, The Gilbert and Sullivan Discography, 5 April 2003, retrieved 2 August 2016
3335:
3177:
1359:
846:
17. "If Saphir I choose to marry" (Angela, Saphir, Duke, Major, and Colonel)
736:
518:
229:
159:
21:"Bunthorne" redirects here. For the author writing under the pseudonym, see
3155:
3150:
2649:
28:
2546:
took over the management of that theatre from Carte. See "Opera Comique",
2492:
A history of the New York stage from the first performance in 1732 to 1901
3314:
3198:
2398:
Information about, and programmes for, American and other productions of
767:
3a. "If you want a receipt for that popular mystery" (Colonel and Chorus)
450:
257:
104:
3088:
1984:
recorded "Prithee Pretty Maiden" for the Canadian folk music TV program
834:
13. "A magnet hung in a hardware shop" (Grosvenor and Chorus of Maidens)
800:
that was included on the 1994 new D'Oyly Carte Opera Company recording.
788:
8a. "Though to marry you would very selfish be" (Patience and Grosvenor)
598:
3493:
3203:
776:
5. "When I first put this uniform on" (Colonel and Chorus of Dragoons)
500:
212:
were working on an "æsthetic subject", and so Burnand raced to produce
852:
19. "I'm a Waterloo House young man" (Grosvenor and Chorus of Maidens)
752:
1. "Twenty love-sick maidens we" (Angela, Ella and Chorus of Maidens)
3067:
2633:"Retired opera singer Cynthia Morey lands 'yum' film role in Quartet"
947:
585:
225:
151:
57:
2913:
Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan
2692:, Musical Collectibles catalogue website, retrieved 15 October 2012
2220:
for elevating sensual, physical love to the level of the spiritual.
3056:
The Operettas of Sir Arthur Sullivan – Volume I (PhD thesis)
2834:
1907:
877:
802:
726:
597:
568:
461:
417:
358:
329:(under the pseudonym "Thomas Maitland") in an article called "The
266:
237:
119:
27:
718:, who was then a pupil of Sullivan's, based on Sullivan's sketch.
3178:
Biographies of the people listed in the historical casting chart
1922:
3207:
758:
2a. "I cannot tell what this love may be" (Patience and Chorus)
1957:, Glyndebourne Festival Chorus; Conductor: Sir Malcolm Sargent
843:
16. "It's clear that mediaeval art" (Duke, Major, and Colonel)
644:
When I first put this uniform on ... Am I alone and unobserved
635:
584:
Bunthorne, heartbroken by Patience's rejection, has chosen to
236:
structure, style and heavy use of alliteration. The latter's "
3034:
The British Musical Theatre – Volume I, 1865–1914
934:
In America, Richard D'Oyly Carte mounted a production at the
286:
was not the first satire of the aesthetic movement played by
2254:
Williams, p. 175, discussing the parody of poetic styles in
773:
4a. "Twenty love-sick maidens we" (Chorus of Maidens – Exit)
761:
2b. "Twenty love-sick maidens we" (Chorus of Maidens – Exit)
624:
2277:
from arthurlloyd.co.uk, retrieved 20 July 2007. See also
831:
12. "Turn, oh turn, in this direction" (Chorus of Maidens)
782:
7. "Long years ago, fourteen maybe" (Patience and Angela)
531:
Chorus of Rapturous Maidens and Officers of Dragoon Guards
870:
of the opera contains links explaining these references.
825:
10. "On such eyes as maidens cherish" (Chorus of Maidens)
923:, who also designed a new set that year. New designs by
664:
Love is a plaintive song ... So go to him and say to him
294:. Grossmith himself had written a sketch in 1876 called
840:
15. "So go to him, and say to him" (Jane and Bunthorne)
2970:
At the Temple of Art: the Grosvenor Gallery, 1877-1890
2279:
this article from the Ambassador Theatre Group Limited
2039:
this article on longest runs in the theatre up to 1920
885:
as Patience at the Bijou Opera House in New York, 1882
3017:(3rd ed.). London: Macmillan General Reference.
2951:
Records and Reminiscences : Personal and General
849:
18. "When I go out of door" (Bunthorne and Grosvenor)
785:
8. "Prithee, pretty maiden" (Patience and Grosvenor)
3169:
Souvenir Programme marking the 250th performance of
1970:
1994 New D'Oyly Carte – Conductor: John Owen Edwards
764:
3. "The soldiers of our Queen" (Chorus of Dragoons)
3461:
3373:
3264:
2216:In the essay, Buchanan excoriates Rossetti and the
240:" poetry, simpler and pastoral, echoes elements of
2989:
2887:
2312:, at the Lyric Opera San Diego website, June 2009
228:1960s, making a flower-child poet the rival of a
2054:"A Satire With Targets Not So Well Remembered"
252:, used Swinburne's velvet jacket, the painter
172:a big hit. The same factors made a hit out of
3219:
3183:Posters from the original American production
2850:Gilbert and Sullivan – A Dual Biography
2152:
2150:
2148:
2146:
397:On 10 October 1881, during its original run,
8:
3083:(1). West Virginia University Press: 45–53.
2495:. New York: Dodd, Mead and company. p.
791:9. "Let the merry cymbals sound" (Ensemble)
779:6. "Am I alone and unobserved?" (Bunthorne)
138:are mentioned here. A tiny, pennant-waving
3438:People associated with Gilbert and Sullivan
3411:International Gilbert and Sullivan Festival
3119:Gilbert and Sullivan: Gender, Genre, Parody
1927:International Gilbert and Sullivan Festival
855:20. "After much debate internal" (Ensemble)
3406:Cultural influence of Gilbert and Sullivan
3226:
3212:
3204:
3113:Also, five supplements, privately printed.
3014:The New York Public Library Desk Reference
2823:, JoniMitchell.com, retrieved 21 June 2015
2289:Burgess, Michael. "Richard D'Oyly Carte",
2172:
2170:
561:Bunthorne, left alone, confesses that his
16:1881 comic opera by Gilbert & Sullivan
3164:NY Times review of original NY production
3159:at The Gilbert & Sullivan Discography
2418:During his term of office, Chief Justice
964:in 1969, in an acclaimed production with
837:14. "Love is a plaintive song" (Patience)
410:a glowing lightbulb before the audience.
300:that was revived as a companion piece to
2973:. Fairleigh Dickinson University Press.
2622:Rollins and Witts, 3rd Supplement, p. 28
2366:
2364:
2231:"The Lecture Tour of North America 1882"
2191:The Life & Work of Luke Fildes, R.A.
2048:
2046:
1628:
1366:
1100:
981:
539:
182:based partly on the satiric cartoons of
3428:List of compositions by Arthur Sullivan
3121:. New York: Columbia University Press.
2613:Rollins and Witts, 1st Supplement, p. 7
2015:
208:leaked to Burnand the information that
3099:Rollins, Cyril; R. John Witts (1962).
2683:"Professional Shows from the Festival"
2358:Hulme, pp. 242–243; and Ainger, p. 195
2193:, J. S. Virtue & Co. (1895), p. 23
703:
3146:at The Gilbert & Sullivan Archive
2894:. London: Cassell & Company Ltd.
899:. The original sets were designed by
7:
2869:The First Night Gilbert and Sullivan
828:11. "Sad is that woman's lot" (Jane)
3570:
3036:. Oxford: Oxford University Press.
2370:Rollins and Witts, Appendix, p. VII
2322:Description of lightbulb experiment
1912:Illustration from an 1885 programme
544:"Rapturous maidens" await Bunthorne
306:in 1878, which was a satire of the
256:'s hairstyle and monocle, and knee-
200:to the stage by several weeks, but
130:cartoons satirised æsthetes. Both
87:comic operas would be known as the
2871:. London: Chappell & Co. Ltd.
2341:past D'Oyly Carte productions and
2207:, the Gilbert and Sullivan Archive
704:Problems playing these files? See
481:Mr. Bunthorne's Solicitor (silent)
343:. Nonetheless, Wilde's biographer
339:for October 1871, a decade before
14:
3151:Complete downloadable vocal score
2933:Stars of the Stage: W. S. Gilbert
2275:this article on the Savoy Theatre
2237:, retrieved 29 October 2023; and
425:(left and right) contrasted with
3569:
3560:
3559:
3443:Works about Gilbert and Sullivan
3187:
2162:The Gilbert and Sullivan Archive
2027:was the longest-running work of
689:
669:
649:
2890:The Gilbert & Sullivan Book
1944:1951 D'Oyly Carte – Conductor:
1938:1930 D'Oyly Carte – Conductor:
1053:Authorised American production
41:Patience; or, Bunthorne's Bride
3596:Operas by Gilbert and Sullivan
2501:. Retrieved 14 September 2010.
2489:Brown, Thomas Allston (1903).
2431:Garcia, Guy D. (2 June 1986).
2388:Rollins and Witts, supplements
2131:Jones, p. 46; Williams, p. 179
456:Lieut. The Duke of Dunstable (
220:opened. Modern productions of
1:
960:entered the repertory of the
2948:Burnand, Francis C. (1904).
1953:1962 Sargent/Glyndebourne –
1083:
1066:
1049:
1030:
1012:
71:, London, on 23 April 1881,
3197:public domain audiobook at
3117:Willilams, Carolyn (2010).
2935:. London: the Bodley Head.
2916:. Oxford University Press.
2852:. Oxford University Press.
2461:Rollins and Witts, pp. 8–21
2349:'s D'Oyly Carte production.
2176:Ellmann, pp. 135 and 151–52
2158:"Bunthorne and Oscar Wilde"
2106:The Illustrated London News
860:Note on topical references:
3637:
3416:W. S. Gilbert bibliography
3386:D'Oyly Carte Opera Company
3103:. London: Michael Joseph.
2426:production of the piece.
2189:in Thompson, David Croal.
906:In the British provinces,
319:Algernon Charles Swinburne
48:in two acts with music by
20:
3555:
3241:
2988:Ellmann, Richard (1988).
2931:Browne, Edith A. (1907).
2604:Rollins and Witts, p. 182
2595:Rollins and Witts, p. 175
2586:Rollins and Witts, p. 170
2577:Rollins and Witts, p. 160
2568:Rollins and Witts, p. 148
2559:Rollins and Witts, p. 132
2024:Les Cloches de Corneville
735:we are!" (left to right:
458:Officer of Dragoon Guards
447:Officer of Dragoon Guards
436:Officer of Dragoon Guards
333:of Poetry", published in
109:Les Cloches de Corneville
2967:Denney, Colleen (2000).
2867:Allen, Reginald (1975).
2848:Ainger, Michael (2002).
2821:"Prithee, Pretty Maiden"
2550:, 18 October 1881, p. 4.
2519:Rollins and Witts, p. 21
2510:Rollins and Witts, p. 19
2406:10 December 2008 at the
2293:, January 1975, pp. 7–11
2113:in Williams, pp. 153–54.
970:Metropolitan Opera House
807:"...sing 'boo' to you" (
146:backpack at lower right.
75:moved to the 1,292-seat
3601:English-language operas
3343:The Yeomen of the Guard
3301:The Pirates of Penzance
3094:(subscription required)
2737:"The 1961 D'Oyly Carte
2720:"The 1951 D'Oyly Carte
2703:"The 1930 D'Oyly Carte
2667:"The 1965 D'Oyly Carte
2470:Rollins and Witts, p. 8
2379:Allen 1975, p. 461
2261:The Contemporary Review
2245:, 10 January 1882, p. 5
2239:"Oscar Wilde's Lecture"
1043:
1027:
1019:
1001:
634:Excerpts from the 1921
401:transferred to the new
336:The Contemporary Review
67:First performed at the
3060:Aberystwyth University
2886:Baily, Leslie (1952).
2843:
2788:"The New D'Oyly Carte
2303:"Richard D'Oyly Carte"
2235:Oscar Wilde in America
1919:English National Opera
1913:
1558:Elizabeth Nickell-Lean
962:English National Opera
886:
862:Songs and dialogue in
816:
748:
638:recording of the opera
629:
606:
581:
576:as Bunthorne "curses"
545:
430:
367:
323:Dante Gabriel Rossetti
275:
254:James McNeill Whistler
147:
36:
3621:Operas set in England
3478:The Sapphire Necklace
3011:Fargis, Paul (1998).
2838:
2805:"The Opera Australia
2308:13 April 2009 at the
2218:Pre-Raphaelite school
1911:
1268:Blanche Gaston-Murray
1070:First London revival
881:
806:
730:
628:
601:
572:
543:
474:Archibald Grosvenor (
421:
362:
270:
123:
31:
3606:English comic operas
3401:Bridget D'Oyly Carte
3256:Richard D'Oyly Carte
3235:Gilbert and Sullivan
3052:Hulme, David Russell
3032:Gänzl, Kurt (1986).
2688:26 June 2012 at the
2424:Washington Savoyards
2111:discussed and quoted
1247:H. Carlyle Pritchard
966:Derek Hammond-Stroud
889:The original run of
499:) (mezzo-soprano or
467:Reginald Bunthorne (
427:'fashionable attire'
288:Richard D'Oyly Carte
210:Gilbert and Sullivan
85:Gilbert and Sullivan
3396:Rupert D'Oyly Carte
2996:. New York: Knopf.
2954:. London: Methuen.
1933:Selected recordings
1853:Rosalind Griffiths
1178:Llewellyn Cadwaladr
1137:William T. Carleton
798:David Russell Hulme
434:Colonel Calverley (
260:like those worn by
83:. Henceforth, the
32:1881 Programme for
3534:The Rose of Persia
3486:The Contrabandista
2844:
2771:"The Brent Walker
2328:, 28 December 1881
2243:The New York Times
2156:Crowther, Andrew.
2058:The New York Times
2031:in history, until
1964:; Stage Director:
1955:Pro Arte Orchestra
1914:
1867:Ann Drummond-Grant
1529:Nellie Briercliffe
1434:C. William Morgan
1221:Rutland Barrington
1211:Charles H. Workman
1094:Historical casting
942:starred the young
887:
874:Production history
817:
749:
630:
607:
582:
546:
478:) (lyric baritone)
471:) (comic baritone)
445:Major Murgatroyd (
431:
368:
290:'s company at the
276:
156:aesthetic movement
148:
62:aesthetic movement
37:
3583:
3582:
3453:Performing groups
3128:978-0-231-14804-7
3043:978-0-19-520509-1
3024:978-0-02-862169-2
3003:978-0-394-55484-6
2980:978-0-8386-3850-7
2923:978-0-19-516700-9
2878:978-0-903443-10-4
2859:978-0-19-514769-8
2754:"The Sargent/EMI
2639:, 2 February 2013
2544:John Hollingshead
2420:William Rehnquist
2004:Grosvenor Gallery
1901:
1900:
1886:Margaret Mitchell
1849:Valerie Masterson
1822:Elizabeth Howarth
1699:James Conroy-Ward
1627:
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1364:
1091:
1090:
1044:22 September 1881
921:George Sheringham
694:
674:
654:
495:The Lady Saphir (
484:The Lady Angela (
184:George du Maurier
56:. The opera is a
3628:
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3542:The Emerald Isle
3526:The Beauty Stone
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3077:Victorian Poetry
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1414:Darrell Fancourt
1409:Darrell Fancourt
1404:Darrell Fancourt
1367:
1225:James Barton Key
1196:George Grossmith
1158:Arthur Wilkinson
1112:Standard Theatre
1101:
1039:Standard Theatre
1028:22 November 1882
982:
952:J. C. Williamson
936:Standard Theatre
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515:Rapturous Maiden
508:Rapturous Maiden
497:Rapturous Maiden
486:Rapturous Maiden
364:Sydney Granville
297:Cups and Saucers
272:George Grossmith
250:George Grossmith
242:Coventry Patmore
52:and libretto by
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3294:H.M.S. Pinafore
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1962:Alexander Faris
1946:Isidore Godfrey
1940:Malcolm Sargent
1906:
1877:Lyndsie Holland
1805:Peggy Ann Jones
1798:Joan Gillingham
1784:Wilfred Stelfox
1763:Arthur Richards
1695:Alfred Oldridge
1651:
1646:
1641:
1636:
1623:Margery Abbott
1616:Winifred Lawson
1562:Doreen Binnion
1554:Beatrice Elburn
1489:Leicester Tunks
1399:Frederick Hobbs
1389:
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1332:Rosina Brandram
1206:Walter Passmore
1164:Richard Andean
1123:
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1113:
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1061:7 November 1900
1025:10 October 1881
944:Lillian Russell
919:and in 1928 by
883:Lillian Russell
876:
868:Wikisource text
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506:The Lady Ella (
476:an Idyllic Poet
423:Aesthetic dress
416:
345:Richard Ellmann
327:Robert Buchanan
303:H.M.S. Pinafore
150:The opera is a
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100:H.M.S. Pinafore
50:Arthur Sullivan
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3280:Trial by Jury
3277:
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3246:W. S. Gilbert
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2539:Princess Toto
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2479:Gänzl, p. 187
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2164:, 8 June 2009
2163:
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2122:Bradley, 2005
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2026:
2025:
2019:
2016:
2009:
2005:
2002:
2001:
1997:
1995:
1993:
1989:
1988:
1983:
1982:Joni Mitchell
1979:
1972:
1969:
1967:
1963:
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1826:Pauline Wales
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1719:Philip Potter
1717:
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1579:Rosalie Dyer
1578:
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1570:Phyllis Smith
1569:
1566:
1565:
1561:
1559:
1556:
1553:
1550:
1547:
1546:
1543:
1542:Marjorie Eyre
1540:
1538:
1537:Marjorie Eyre
1535:
1533:Aileen Davies
1532:
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1433:
1431:Frank Steward
1430:
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1353:
1351:Carrie Burton
1350:
1348:
1345:
1342:
1341:
1338:
1335:
1333:
1330:
1328:Augusta Roche
1327:
1325:
1324:Alice Barnett
1322:
1319:
1318:
1314:
1312:
1309:
1307:
1304:
1302:
1301:May Fortescue
1299:
1296:
1295:
1292:Marie Wilson
1291:
1288:
1286:Rose Chapelle
1285:
1283:
1280:
1277:
1276:
1273:
1270:
1267:
1265:
1262:
1260:
1257:
1254:
1253:
1249:
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1244:William White
1243:
1241:George Bowley
1240:
1237:
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1227:
1224:
1222:
1219:
1216:
1215:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1191:
1190:
1187:Harold Wilde
1186:
1184:
1181:
1179:
1176:
1174:
1171:
1168:
1167:
1163:
1160:
1157:
1155:
1152:
1149:
1148:
1145:Frank Wilson
1144:
1142:
1139:
1136:
1134:
1131:
1128:
1127:
1122:Savoy Theatre
1121:
1117:Savoy Theatre
1116:
1111:
1107:Opera Comique
1106:
1103:
1102:
1099:
1093:
1086:
1080:
1077:
1075:Savoy Theatre
1074:
1073:
1069:
1064:20 April 1901
1063:
1060:
1058:Savoy Theatre
1057:
1056:
1052:
1047:23 March 1882
1046:
1040:
1037:
1036:
1033:
1024:
1022:
1021:Savoy Theatre
1018:
1015:
1009:
1007:23 April 1881
1006:
1004:
1003:Opera Comique
1000:
996:
993:
990:
987:
984:
983:
980:
977:
975:
974:New York City
971:
967:
963:
959:
955:
953:
949:
945:
941:
937:
932:
930:
926:
922:
918:
915:, in 1918 by
914:
909:
904:
902:
901:John O'Connor
898:
897:
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884:
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873:
871:
869:
865:
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769:
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721:
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712:
709:
707:
686:
685:
666:
665:
646:
645:
637:
617:
615:
611:
604:
603:Alice Barnett
600:
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594:
590:
587:
579:
575:
571:
567:
564:
559:
557:
548:
547:
542:
535:
530:
527:
523:
520:
516:
512:
509:
505:
502:
498:
494:
491:
490:mezzo-soprano
487:
483:
480:
477:
473:
470:
466:
463:
459:
455:
452:
448:
444:
441:
440:bass-baritone
437:
433:
432:
428:
424:
420:
413:
411:
408:
404:
403:Savoy Theatre
400:
395:
393:
388:
384:
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378:
374:
365:
361:
357:
354:
350:
346:
342:
338:
337:
332:
328:
324:
320:
316:
311:
309:
305:
304:
299:
298:
293:
292:Opera Comique
289:
285:
281:
273:
269:
265:
263:
259:
255:
251:
247:
243:
239:
233:
231:
227:
223:
219:
215:
211:
207:
206:Frederic Clay
203:
199:
195:
191:
190:
185:
181:
180:F. C. Burnand
177:
176:
171:
166:
161:
157:
153:
145:
142:peeks out of
141:
137:
133:
129:
128:
122:
115:
113:
111:
110:
106:
102:
101:
96:
92:
90:
86:
82:
78:
77:Savoy Theatre
74:
70:
69:Opera Comique
65:
63:
59:
55:
54:W. S. Gilbert
51:
47:
43:
42:
35:
30:
24:
19:
3540:
3532:
3524:
3516:
3508:
3500:
3492:
3484:
3476:
3468:
3362:
3355:
3348:
3341:
3334:
3327:
3322:Princess Ida
3320:
3313:
3307:
3306:
3299:
3292:
3287:The Sorcerer
3285:
3278:
3271:
3193:
3170:
3156:
3143:
3118:
3100:
3080:
3076:
3055:
3033:
3013:
2991:
2969:
2950:
2932:
2912:
2889:
2868:
2849:
2816:
2806:
2799:
2789:
2782:
2772:
2765:
2755:
2748:
2738:
2731:
2721:
2714:
2704:
2697:
2678:
2668:
2661:
2651:
2644:
2636:
2627:
2618:
2609:
2600:
2591:
2582:
2573:
2564:
2555:
2547:
2537:
2533:
2529:
2524:
2515:
2506:
2491:
2484:
2475:
2466:
2457:
2445:. Retrieved
2441:the original
2427:
2414:
2399:
2393:
2384:
2375:
2354:
2347:Peter Goffin
2333:
2325:
2317:
2298:
2291:The Savoyard
2290:
2285:
2269:
2259:
2255:
2250:
2242:
2234:
2225:
2212:
2203:
2198:
2190:
2181:
2161:
2136:
2127:
2118:
2110:
2104:
2100:
2095:
2086:
2074:
2065:
2057:
2032:
2022:
2018:
1985:
1976:
1929:since 2000.
1915:
1896:Pamela Field
1818:Joyce Wright
1790:Jon Ellison
1734:Martyn Green
1671:Donald Adams
1666:Donald Adams
1650:D'Oyly Carte
1645:D'Oyly Carte
1640:D'Oyly Carte
1635:D'Oyly Carte
1620:Doreen Denny
1598:Dorothy Gill
1593:Bertha Lewis
1588:Bertha Lewis
1520:Ernest Dale
1514:Alex Sheahan
1511:E. A. Cotton
1502:Leslie Rands
1497:Leslie Rands
1474:Martyn Green
1469:Henry Lytton
1464:Henry Lytton
1442:Dewey Gibson
1427:Martyn Green
1423:Allen Morris
1388:D'Oyly Carte
1383:D'Oyly Carte
1378:D'Oyly Carte
1373:D'Oyly Carte
1311:Agnes Fraser
1306:Alma Stanley
1282:Julia Gwynne
1233:John Clulow
1229:Henry Lytton
1183:Robert Evett
1173:Durward Lely
1141:Jones Hewson
1097:
1078:4 April 1907
991:Closing Date
988:Opening Date
978:
957:
956:
939:
933:
928:
925:Peter Goffin
917:Hugo Rumbold
907:
905:
894:
890:
888:
863:
859:
858:
794:
732:
683:
663:
643:
612:
608:
605:as Lady Jane
592:
591:
583:
580:as Grosvenor
563:aestheticism
560:
552:
526:a Dairy Maid
525:
514:
507:
496:
485:
475:
468:
457:
446:
435:
398:
396:
391:
386:
382:The Sorcerer
380:
372:
369:
366:as Grosvenor
352:
348:
340:
334:
312:
308:blue pottery
301:
295:
283:
277:
274:as Bunthorne
264:and others.
234:
221:
217:
213:
201:
197:
193:
187:
178:, a play by
173:
169:
149:
135:
131:
125:
107:
98:
94:
93:
89:Savoy Operas
72:
66:
40:
39:
38:
33:
23:Bob Smithies
18:
3616:1881 operas
3575:WikiProject
3510:Haddon Hall
3470:Cox and Box
3448:Adaptations
3433:Grim's Dyke
3391:Helen Carte
3381:Savoy opera
2992:Oscar Wilde
2840:Jessie Bond
2637:Oxford Mail
1978:Oscar Brand
1862:Ella Halman
1809:Judi Merri
1801:Beryl Dixon
1787:Jon Ellison
1781:Ernest Dale
1759:Alan Styler
1739:Peter Pratt
1724:Meston Reid
1686:Peter Pratt
1676:John Ayldon
1603:Ella Halman
1272:Jessie Rose
1259:Jessie Bond
1201:J. H. Ryley
528:) (soprano)
510:) (soprano)
315:Oscar Wilde
280:Luke Fildes
262:Oscar Wilde
214:The Colonel
194:The Colonel
175:The Colonel
136:The Colonel
46:comic opera
3590:Categories
3545:(1901) w/
3329:The Mikado
2831:References
2671:Broadcast"
2343:this photo
1904:Recordings
1652:1975 Tour
1573:Irene Hill
1551:Ella Milne
1390:1945 Tour
1355:Isabel Jay
1337:Louie René
1315:Ruby Gray
1289:Lulu Evans
1161:W. H. Leon
1041:, New York
896:The Mikado
706:media help
524:Patience (
407:gas-burner
377:Bab Ballad
282:painting.
192:magazine.
144:Sullivan's
116:Background
3336:Ruddigore
3109:504581419
3068:2160/7735
2960:162966824
2941:150457714
2900:557872459
2548:The Times
2534:The Times
2447:17 August
2326:The Times
1994:in 1966.
1778:Solicitor
1755:Grosvenor
1749:John Reed
1744:John Reed
1730:Bunthorne
1691:John Reed
1647:1965 Tour
1642:1957 Tour
1637:1950 Tour
1508:Solicitor
1485:Grosvenor
1460:Bunthorne
1451:John Dean
1385:1935 Tour
1380:1925 Tour
1375:1915 Tour
1360:Clara Dow
1238:Solicitor
1217:Grosvenor
1192:Bunthorne
519:contralto
387:Patience.
230:beat poet
160:aesthetic
3565:Category
3315:Iolanthe
3308:Patience
3199:LibriVox
3194:Patience
3171:Patience
3157:Patience
3144:Patience
3089:40001289
3054:(1986).
2910:(2005).
2807:Patience
2790:Patience
2773:Patience
2756:Patience
2739:Patience
2722:Patience
2705:Patience
2686:Archived
2669:Patience
2652:Patience
2530:Patience
2433:"People"
2404:Archived
2400:Patience
2306:Archived
2256:Patience
2101:Patience
2078:Denney,
1998:See also
1966:John Cox
1892:Ann Hood
1883:Patience
1609:Patience
1343:Patience
997:Details
958:Patience
940:Patience
929:Patience
908:Patience
891:Patience
864:Patience
731:"...and
574:Passmore
536:Synopsis
451:baritone
399:Patience
392:Patience
373:Patience
353:Patience
349:Patience
341:Patience
284:Patience
258:breeches
222:Patience
218:Patience
202:Patience
198:Patience
170:Patience
165:painters
132:Patience
105:operetta
95:Patience
73:Patience
34:Patience
3502:Ivanhoe
3494:The Zoo
3374:Related
3273:Thespis
3174:in 1881
2809:(1995)"
2792:(1994)"
2775:(1982)"
2758:(1962)"
2034:Dorothy
1657:Colonel
1395:Colonel
1129:Colonel
985:Theatre
815:, 1919)
747:, 1907)
741:Workman
501:soprano
310:craze.
238:idyllic
216:before
154:on the
140:Gilbert
60:on the
44:, is a
3611:Operas
3547:German
3537:(1899)
3529:(1898)
3521:(1894)
3513:(1892)
3505:(1891)
3497:(1875)
3489:(1867)
3481:(1867)
3473:(1866)
3265:Operas
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3107:
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3000:
2977:
2958:
2939:
2920:
2898:
2875:
2856:
1814:Saphir
1795:Angela
1548:Saphir
1525:Angela
1278:Saphir
1255:Angela
994:Perfs.
948:Sydney
820:Act II
809:Lytton
593:Act II
586:raffle
578:Lytton
226:hippie
152:satire
58:satire
3085:JSTOR
2542:when
2345:from
2080:p. 38
2010:Notes
1682:Major
1420:Major
1150:Major
1124:1907
972:, in
813:Lewis
723:Act I
549:Act I
462:tenor
414:Roles
196:beat
189:Punch
127:Punch
124:Many
3123:ISBN
3105:OCLC
3038:ISBN
3019:ISBN
2998:ISBN
2975:ISBN
2956:OCLC
2937:OCLC
2918:ISBN
2896:OCLC
2873:ISBN
2854:ISBN
2449:2007
2437:Time
2273:See
1980:and
1923:BBC2
1858:Jane
1837:Ella
1705:Duke
1632:Role
1584:Jane
1567:Ella
1439:Duke
1370:Role
1320:Jane
1297:Ella
1169:Duke
1119:1900
1114:1881
1109:1881
1104:Role
811:and
745:René
743:and
733:here
321:and
244:and
134:and
3064:hdl
2532:in
2497:246
2428:See
2324:in
2103:in
1067:150
1050:177
1031:408
1013:170
737:Dow
636:HMV
517:) (
488:) (
460:) (
449:) (
438:) (
186:in
3592::
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2635:,
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2363:^
2241:,
2233:,
2169:^
2160:,
2145:^
2056:,
2045:^
1084:51
976:.
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232:.
112:.
3227:e
3220:t
3213:v
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