549:, leaving six weeks' rent unpaid. All he has left behind is a bottle of "medicine" with a label on it. Believing the medicine to be useless, Elvino gives it to Pietro. Pietro reads the label and learns that the mysterious liquid "has the effect of making every one who drinks it exactly what he pretends to be". Pietro hatches the idea of administering the potion to Bartolo and Nita, who will pretend to be the clock-work Hamlet and Ophelia when the Duke and Duchess arrive. After the performance, Pietro can reverse the potion by burning the label. While preparing for the performance, Pietro accidentally drops the label, which Ultrice retrieves. Ultrice realises that if she and Alfredo drink the potion while they are pretending to be the Duke and Duchess, Alfredo's feigned love for her will become a reality.
586:
intention of administering it. Pietro brings on
Bartolo and Nita to entertain the Duke and Duchess, but he quickly recognises that his audience is only Alfredo and Ultrice. They explain that they are victims of a potion, and Pietro realises that the only solution to the mess is to administer the antidote. When he realises he has lost it, everyone accuses him of being a sorcerer. Bartolo and Nita discuss what it will be like to be Hamlet and Ophelia for the rest of their lives. Pietro steals the keys, so that neither one can touch the other's clockwork.
715:
257:
863:
279:, to design costumes. The initial run closed on 5 August 1892. Despite the opera's warm reception, Gilbert wrote on 7 January 1892, shortly after the premiere, "I had to make rough & ready alterations to supply gaps – musical gaps – caused by poor Cellier's inability to complete his work. It follows that Act 2 stands out as a very poor piece of dramatic construction ... this is the worst libretto I have written. Perhaps I am growing old."
359:
553:
characters are pretending to be something they are not. Alfredo pretends to be a Duke married to
Ultrice and indifferent to Teresa. Ultrice pretends to be Duchess, married to Alfredo. Teresa pretends to be insane with love for Alfredo. Bartolo and Nita pretend to be clock-work Hamlet and Ophelia. The Tamorras pretend to be monks. Minestra pretends to be an old lady.
542:
and
Bartolo, two of the troupe's members, were formerly engaged, but Nita became disenchanted with Bartolo's inability to play tragedy, and she is now engaged to Pietro. While they are discussing this, Beppo rushes in to tell Pietro that the clock-work automata have been detained at the border. Pietro wonders how his troupe will deliver the promised performance.
64:, but that Sullivan had rejected, earlier in their careers. To set his libretto to music, Gilbert turned to Cellier, who had previously been a musical director for Gilbert and Sullivan and had since become a successful composer. During the composition of the piece Cellier died, and the score was finished by the original production's musical director,
248:, to use as the opera's overture. One song whose lyrics were printed in the libretto available on the first night were never set to music, and another was cut before the opening night. After Cellier's illness prevented him from finishing the score, Gilbert modified the libretto around the gaps, and the order of some of the music was changed.
528:
pass, a procession of
Dominican monks sings a chorus (in Latin) about the inconveniences of monastic life. As soon as the coast is clear, the Tamorras appear. They are a secret society of bandits bent on revenge against the descendants of those who wrongly imprisoned an ancestor's friend five hundred
129:(1877); Sullivan felt that the story lacked "human emotion". The idea of a magic potion that changes human behaviour has long been a common theme of literature and opera. The device allowed Gilbert to explore "how people behave when they are forced to live with the consequences of their own actions."
589:
Ultrice confronts Teresa and gloats over her triumph. However, when Teresa threatens to jump off a parapet, Ultrice relents and admits that she has stolen the antidote. Pietro seizes the label and burns it. The potion's effects expire, and the characters resume their original personalities, although
577:
It is night-time outside the monastery. As the potion's label had foretold, everyone is now what they had pretended to be. Although
Risotto and Minestra are married, he is disappointed to find that she is now an old woman of seventy-four. Teresa has gone completely mad with love for Alfredo. Bartolo
533:
who occupies the second floor of the inn. Arrostino, the
Tamorras's leader, has learned that the Duke and Duchess of Pallavicini will be passing through the village. He suggests that the Tamorras capture the monastery and disguise themselves as monks. Minestra will dress as an old woman and lure the
751:, and found the dialogue "crammed with quips of the true Gilbertian ring." The reviewer was more cautious about the score, attempting to balance respect for the recently dead Cellier with a clear conclusion that the music was derivative of the composer's earlier works and also of the Savoy operas.
529:
years previously. The
Tamorras tell Elvino, the innkeeper, that they are planning to get married – one man each day for the next three weeks. The first is Risotto, who is marrying Minestra later that day. Elvino asks them to conduct their revels in a whisper, so as not to disturb the poor old dying
585:
Teresa is still crazed with love for
Alfredo. He replies that, although he used to love her, he is now "married" to Ultrice and is blind to her charms. They are grateful that the charm will last for only another hour or so. Left alone, Ultrice admits that she alone has the antidote, and she has no
581:
The
Tamorras, who had pretended to be monks, have renounced their life of crime, and they no longer find the village girls attractive. They demand an explanation of Pietro, who explains that the wine was spiked. He promises to administer the antidote in an hour or two – as soon as Bartolo and Nita
560:
Duke and
Duchess. He proposes a toast, drawing wine from Pietro's wine-skin. Pietro, who has put the Alchemist's potion into the wine-skin, implores Alfredo to stop, telling him that it contains poison from which he is already dying. Alfredo ignores the warning and distributes the wine to everyone
541:
A troupe of strolling players arrives. Their leader, Pietro, offers the villagers a dress rehearsal of a performance to be given later to the Duke and Duchess. Among the novelties to be presented, he promises "two world-renowned life-size clock-work automata, representing Hamlet and Ophelia". Nita
349:
conducted by John Andrews, garnering warm reviews for the conducting and performances. One reviewer noted Cellier's "fine lyrical detail and sumptuous orchestration with which he provides a wide variety of musical effects. … ne is aware of the growing sophistication in Gilbert's choice of words in
552:
Teresa, meanwhile, decides that, to taunt Alfredo, she will pretend to be in love with him, only to dash his hopes later on. Alfredo, who overhears this, declares that he will pretend to reject Teresa. When she learns this, Teresa says that she will feign insanity. By this point, all of the major
219:
to set the libretto to music, and Thomas sketched out music to four musical numbers. For unknown reasons, possibly Thomas's poor health, he never set the opera; when Cellier returned to England in April 1891, he sought, through his and Gilbert's mutual friend, Edward Chappell, to mend fences with
305:
match in May 1892. Relations between Gilbert and his new producer had also deteriorated, and the author unsuccessfully sued Sedger for cutting the size of the chorus in the London production without his approval. It was toured for a year in America by the Lillian Russell Opera Company, starring
188:
in July 1890, and Gilbert began fleshing out the libretto, but unlike his usual daily interactions with Sullivan during development of a libretto, he found Cellier to be far less responsive. He was annoyed when Cellier sailed for Australia in mid-December without having responded to Gilbert's
537:
Alfredo, a young peasant, is in love with Teresa, the village beauty. He sings a ballad about her, but it is clear that she does not love him in return. She suggests that he marry Elvino's niece, Ultrice, who follows Alfredo everywhere, but Alfredo wants nothing to do with Ultrice. Elvino is
761:
colleague, saying, "Mr Cellier's portion of the work is disappointing," adding that the composer never rose in this piece "to within measurable distance of his predecessor. ... If we judge the late Alfred Cellier's score by a somewhat high standard it is all Sir Arthur Sullivan's fault."
235:
he deteriorated rapidly and died, at the age of 47, while the opera was still in rehearsals. All of the melodies and vocal lines in the opera were composed by Cellier, but the orchestration was incomplete when he died. The score was completed by the Lyric Theatre's musical director,
207:. Gilbert then completed Act I assuming that there were no conflicts, but finally received a response from Cellier by early January, stating that the change in setting did indeed conflict with his earlier work; Gilbert replied that he was ending the collaboration, and that
334:, by the Chamber Opera Players, accompanied only by a piano. It was produced in 1964 by the Washington, D.C., Lyric Theatre Company, with orchestra, and the company recorded the score. Other amateur performances accompanied only by piano followed until James Gillespie's
538:
concerned that he does not know the proper protocol for entertaining a Duke and Duchess. He suggests that Alfredo impersonate a Duke, so that he can practice his manners. Alfredo implores Teresa to impersonate the Duchess, but Teresa insists that Ultrice play the role.
123:, to set this story, or a similar one, to music. For example, he had written a treatment of the opera in 1884, which Sullivan rejected, both because of the story's mechanical contrivance, and because they had already produced an opera concerning a magic potion,
582:
have performed for the Duke and Duchess. Alfredo, now pretending to be a Duke, greets the monks. They tell him that he has chosen a fortunate time for his arrival, as the Tamorras had planned to kidnap him. But now he is safe, as they are all virtuous monks.
729:
At the first night, the audience's response was enthusiastic. The producer, Horace Sedger, came before the curtain at the end of the performance to explain that Gilbert preferred, because of the death of Cellier, not to take a curtain call.
325:
Gilbert and Cellier's widow later sold the performing and score rental rights to the D'Oyly Carte Opera Company. Occasional amateur performances were staged in Britain, America and Australia until the Second World War, and the professional
29:
60:. The story concerns a magic potion that causes the person to whom it is administered to become what he or she has pretended to be. It is similar to several "magic lozenge" plots that Gilbert had proposed to the composer
282:
The success of the London production led its producer, Sedger, to establish at least three touring companies, which visited major towns and cities in Britain for a year and a half, from March 1892 to mid-November 1893.
244:. Caryll composed the entr'acte, using the melody from Number 16, and he wrote or modified the orchestration for more than half a dozen of the songs. He chose the 4th movement of Cellier's 1878 orchestral piece, the
1183:, Gordon-Powell, Robin (ed. music) and Smith, J. Donald (ed. libretto), Introduction by J. Donald Smith (with musical notes by Robin Gordon-Powell), The Amber Ring, 2014 (available at robin@amber-ring.co.uk)
330:
company continued to perform it occasionally in Australia and New Zealand. After that, the first known staging was in New York City, in 1955, in a small-scale production at the St. John's Theater, in
768:
also noted Gilbert's reuse of old ideas, but asked, "who would wish Mr Gilbert to adopt a new style?" The paper thought equally well of the score, rating it as highly as Cellier's best-known piece,
79:, London, on 4 January 1892, for a run of 229 performances. It also toured extensively, had a short Broadway run, in 1893, American tours and Australian productions. The original cast included
578:
and Nita are waxwork Hamlet and Ophelia, walking with mechanical gestures as if controlled by clockwork. Pietro, because he had pretended the wine was poisonous, is now dying slowly.
702:
The placement of this song changed within the act before it was cut. "Ophelia was a dainty little maid" replaced it. However, it was included on the only commercial recording of
909:(1870), which explores the consequences of a magical environment in which people are required to tell the truth unknowingly, with unintended consequences; a short story called
757:
thought the libretto so good that it "places Mr Gilbert so very far in advance of any living English librettist." The paper's critic was more emphatic about the score than his
350:
his lyrics during this mature period of his writing. Clever as some of the lyrics are they may well have gone over the heads of the 'comedy opera' orientated audiences."
115:
The story of the opera revolves around a magic potion that transforms those who drink it into whoever, or whatever, they pretend to be. The idea was clearly important to
899:
146:, Gilbert sought another composer who would collaborate on the "magic lozenge" idea that Sullivan had repeatedly rejected. He eventually found a willing partner in
140:
dominated the London musical stage from the late 1870s to 1890. When that partnership temporarily disbanded, due to a quarrel over finances after the production of
345:, California by Lyric Theatre, directed by John Hart, using Gordon-Powell's score. The score was finally recorded professionally and released in 2018 with the
271:
initial run of 229 performances surpassed most of Gilbert's later works and even a few of his collaborations with Sullivan. Gilbert engaged his old friends
819:
784:
considered the music "a triumph." All the reviewers singled out for particular praise the duet for the automata, "Put a penny in the Slot".
341:
The full score of the opera was published in 2014 by Robin Gordon-Powell, followed by a piano/vocal score. A 2015 production was staged in
189:
repeated queries about potential conflicts between some plot changes that he had suggested and a recently composed opera of Cellier's with
957:, Gordon-Powell, Robin (ed. music) and Smith, J. Donald (ed. libretto), The Amber Ring, Vol. 1, 2014 (available at robin@amber-ring.co.uk)
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160:'s early operas. Cellier had also achieved much success apart from Gilbert and Sullivan, particularly with his comic opera
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292:
20:
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Elvino and Ultrice have a problem of their own. Their alchemist tenant has blown himself up while searching for the
643:
No. 12. "Oh luck unequalled" ... "Alfredo Hers?" ... "When man in lovesick Passion" (Ultrice, Teresa and Alfredo)
276:
1252:, in the production, where she made one of her first professional appearances in the chorus. Parker, John (ed).
241:
176:
set and held the record for longest-running piece of musical theatre in history until the turn of the century.
69:
256:
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780:
689:
No. 24. "An hour? Nay, Nay." (Ultrice; this recit. – Ultrice's confession – was later moved to after No. 25)
674:
No. 20. "Time there was when earthly Joy" (Chorus (with Soprano and Contralto solos), Arrostino and Pietro)
546:
76:
893:
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noted with approval that Gilbert had returned to his favourite device of a magic potion, already seen in
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753:
346:
212:
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215:, where the piece was to be produced, agreed with this. In early February, Gilbert approached composer
1453:
610:
No. 1. "The chaunt of the Monks" and "We are members of a secret society" (Men's Chorus and Giorgio)
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The bandits, now monks, attempt to greet the Duke and Duchess (actually Alfredo and Ultrice) in song.
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on Broadway, opening on 11 January 1893. It was also produced in Australia and New Zealand by the
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No. 25. "Oh, please you not to go Away" (Chorus, Pietro, Elvino, Alfredo, Ultrice, Bartolo, Nita)
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1374:
1344:
733:
Reviews for the libretto were consistently excellent. Cellier's music received mixed reviews.
331:
198:
1192:
640:
No. 11. "Those days of Old" and "Allow that the plan I Devise"(Nita, with Bartolo and Pietro)
231:
Cellier suffered from tuberculosis for most of his adult life, but during the composition of
220:
Gilbert, and, after some flattery, succeeded. Gilbert changed the setting to Sicily, and the
824:
714:
671:
No. 19. "Where gentlemen are eaten up with Jealousy ... Tic, Tic" (Bartolo, Nita and Pietro)
327:
319:
311:
295:
touring company at a nearby theatre. The strained relations between Carte and Gilbert after
190:
680:
No. 21. "The Duke and Duchess hither wend their Way" (Luigi, Arrostino, Alfredo and Chorus)
1448:
1249:
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No. 18. "If our action's stiff and Crude" ... "Put a penny in the Slot" (Bartolo and Nita)
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called the music "accompaniment merely" but found it "completely satisfactory" as such.
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No. 20a. OPTIONAL SONG: "When your clothes, from your hat to your Socks" (Pietro)
166:(1886), a smash hit. It played for over 900 performances, considerably more than
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65:
53:
45:
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Duke into the monastery, where he will be taken captive and held for ransom.
1398:
at The Gilbert & Sullivan Archive (includes links to score and libretto)
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735:
530:
505:
483:
342:
92:
375:
335:
469:
461:
Beppo – A member of the Mountebanks' crew (speaking) – Gilbert Porteous
302:
996:, No. 102, Sir Arthur Sullivan Society, London, Spring 2020, pp. 13–22
240:, a successful composer who became one of the best-known composers of
150:, a logical choice for Gilbert. The two had collaborated once before (
953:
Smith, J. Donald. Introduction to Cellier, Alfred and W. S. Gilbert,
695:
No. 26. "Ophelia was a dainty little Maid" (Pietro, Bartolo and Nita)
625:
No. 6. "Teresa, little Word" and "Bedecked in fashion Trim" (Alfredo)
525:
665:
No. 17. "If I can catch this jolly Jack-Patch" (Teresa and Minestra)
634:
No. 9. "Fair maid, take Pity" (Alfredo, Teresa, Ultrice and Elvino)
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No. 10. "Tabor and Drum" (Female Chorus, Pietro, Bartolo and Nita)
568:
406:
357:
255:
27:
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No. 8. "Upon my word, Miss" (Ultrice, Teresa, Alfredo and Elvino)
659:
No. 15, "I'd be a young girl if I Could" (Minestra and Risotto)
338:
production in 1982, which used orchestra parts from Australia.
619:
No. 4. "Only think, a Duke and Duchess!" (Chorus and Minestra)
917:, and another play involving a magic potion and magic pills,
107:. A professional recording of the work was released in 2018.
466:
a Village Beauty, loved by Alfredo, and in love with herself
16:
Comic opera by W. S. Gilbert, Alfred Cellier and Ivan Caryll
1022:, Oxford University Press, 2004, accessed 12 January 2011
968:
Longest Running Plays in London and New York, 1875 to 1920
403:
a Young Peasant, loved by Ultrice, but in love with Teresa
1256:, Gale Research: Detroit, Michigan (1978), pp. 2279–2280
686:
No. 23. "In days gone By" (Alfredo, Teresa, and Ultrice)
1341:
Contradiction Contradicted – The Plays of W. S. Gilbert
156:, 1874), and Cellier had been the musical director for
1034:
A vocal score, with dialogue, is available at Lulu.com
480:
Elvino's niece, in love with, and detested by, Alfredo
287:
played Ultrice on one tour in 1893. While playing in
1371:
W. S. Gilbert, A Classic Victorian & His Theatre
291:, one touring company found itself competing with a
1136:, 12 November 1892, p. 20; and 7 October 1893, p. 7
683:
No. 22. "Willow, willow, where's my Love?" (Teresa)
622:
No. 5. "High Jerry Ho!" (Arrostino and Male Chorus)
119:, as he repeatedly urged his famous collaborator,
900:Dulcamara, or the Little Duck and the Great Quack
556:Alfredo and Ultrice appear in their guise as the
301:did not prevent the two companies from playing a
1197:, LyricTheatre.org, 2015, accessed 3 August 2015
172:, Gilbert and Sullivan's most successful piece.
314:, including a run of a month and a half at the
874:, September 1965, p. 85, accessed 14 July 2010
616:No. 3. "If you Please" (Minestra and Risotto)
456:one of the Tamorras – just married to Minestra
949:
184:Gilbert and Cellier agreed to collaborate on
8:
1051:, Vol. 4, part 4, issue 30, pp. 15–31 (2012)
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937:
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814:
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992:, By W. S. Gilbert and A. Goring Thomas"],
264:and Aida Jenoure in the original production
372:Captain of the Tamorras – a Secret Society
1406:at The Gilbert & Sullivan Discography
1164:, an Opera, In U. S. Debut in Village"],
1218:), July 7, 2020, accessed April 28, 2022
1068:
1066:
1043:Smith, J. Donald. "The Missing Songs of
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982:
980:
978:
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662:No. 16. "All alone to my Eerie" (Teresa)
524:Outside a mountain Inn on a picturesque
197:, including a Spanish setting involving
1020:Oxford Dictionary of National Biography
808:
613:No. 2. "Come, all the Maidens" (Chorus)
1144:
1142:
859:
857:
855:
68:, who became a successful composer of
1254:Who Was Who in the Theatre: 1912–1976
828:, 22 July 2018, Features, p. 25; and
417:Proprietor of a Troupe of Mountebanks
211:, the manager and lessee of London's
7:
883:Gilbert had also written an earlier
830:"W.S. Gilbert & Alfred Cellier:
656:No. 14. "Entr'acte" (By Ivan Caryll)
590:some seem to have learned a lesson.
224:became brigands; it turned out that
75:The opera was first produced at the
1179:Cellier, Alfred and W. S. Gilbert.
1419:Photographs from a 1909 production
970:at the Stage Beauty website (2007)
14:
1343:. Associated University Presses.
646:No. 13. "Finale Act I" (Ensemble)
628:No. 7. "It's my Opinion" (Teresa)
275:, to choreograph the piece, and
1239:, Music Web International, 2018
510:Tamorras, Monks, Village Girls.
1248:Porteous met his future wife,
913:in 1876, on the same theme as
1:
1229:"Alfred Cellier (1844-1891):
1049:W. S. Gilbert Society Journal
840:, Dutton Vocalion, March 2018
795:"as good as any but the best
260:"Put a penny in the slot" –
99:. The American cast included
1079:The Guide to Musical Theatre
398:(baritone) – Charles Gilbert
1373:. Oxford University Press.
1081:, accessed 15 December 2009
698:No. 27. "Finale" (Ensemble)
21:Mountebank (disambiguation)
1475:
1364:. London: Hamish Hamilton.
1233:, comic opera (1892); and
1016:"Caryll, Ivan (1861–1921)"
497:or soprano) – Aida Jenoure
293:D'Oyly Carte Opera Company
252:Productions and recordings
48:in two acts with music by
18:
1369:Stedman, Jane W. (1996).
1358:Pearson, Hesketh (1935).
1339:Crowther, Andrew (2000).
1292:, 5 January 1892, pp. 1–2
1090:Quoted in Stedman, p. 283
1459:Operas by Alfred Cellier
1266:The Manchester Guardian,
1170:, 2 December 1955, p. 13
1100:Newcastle Weekly Courant
791:, rated the libretto of
242:Edwardian Musical Comedy
70:Edwardian Musical Comedy
1439:English-language operas
1167:New York Herald Tribune
1024:(subscription required)
781:The Manchester Guardian
354:Roles and original cast
1434:Works by W. S. Gilbert
1361:Gilbert & Sullivan
1280:, 5 January 1892, p. 7
834:& Alfred Cellier:
820:"On record: Classical"
726:
574:
366:
265:
136:partnership and their
36:
1290:The Pall Mall Gazette
1212:; "Suite Symphonique"
1104:Birmingham Daily Post
754:The Pall Mall Gazette
717:
572:
361:
347:BBC Concert Orchestra
259:
31:
1444:English comic operas
1116:, 23 December 1892;
1112:, 20 December 1892;
598:Overture: Cellier's
486:) – Lucille Saunders
458:(tenor) – Cecil Burt
396:a Member of his Band
386:a Member of his Band
370:Arrostino Annegato,
322:company until 1900.
228:was never produced.
217:Arthur Goring Thomas
158:Gilbert and Sullivan
134:Gilbert and Sullivan
19:For other uses, see
1314:The Daily Telegraph
1227:Walker, Raymond J.
1214:, Classical Music (
1206:Rohan, Mike Scott.
988:Smith, J. Donald. "
906:The Palace of Truth
849:Stedman, pp. 283–85
775:The Daily Telegraph
742:The Palace of Truth
547:philosopher's stone
419:(comic baritone) –
365:as Arrostino (1892)
1216:BBC Music Magazine
727:
710:Critical reception
575:
504:(mezzo-soprano) –
367:
266:
56:and a libretto by
37:
1235:Suite Symphonique
1208:"Alfred Cellier:
1120:, 13 March 1893;
1118:Liverpool Mercury
1102:, 23 April 1892;
911:An Elixir of Love
836:Suite Symphonique
725:caricatured, 1892
600:Suite Symphonique
440:Elvino di Pasta,
394:Luigi Spaghetti,
384:Giorgio Raviolo,
332:Greenwich Village
246:Suite Symphonique
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1384:
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1316:, 5 January 1892
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1304:, 9 January 1892
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920:Foggerty's Fairy
903:(1866); a play,
894:L'elisir d'amore
881:
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850:
847:
841:
825:The Sunday Times
816:
787:A later critic,
328:J. C. Williamson
320:J. C. Williamson
312:C. Hayden Coffin
269:The Mountebanks'
191:B. C. Stephenson
1474:
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1413:The Mountebanks
1411:Description of
1404:The Mountebanks
1396:The Mountebanks
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1325:Pearson, p. 171
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1210:The Mountebanks
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1194:The Mountebanks
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818:Canning, Hugh.
817:
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793:The Mountebanks
789:Hesketh Pearson
712:
704:The Mountebanks
596:
594:Musical numbers
567:
522:
517:
502:Risotto's Bride
474:Geraldine Ulmar
436:Harry Monkhouse
411:J. G. Robertson
390:Arthur Playfair
356:
308:Lillian Russell
262:Harry Monkhouse
254:
233:The Mountebanks
186:The Mountebanks
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121:Arthur Sullivan
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105:Lillian Russell
81:Geraldine Ulmar
62:Arthur Sullivan
41:The Mountebanks
34:The Mountebanks
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1454:1892 operas
1162:Mountebanks
721:(left) and
561:assembled.
380:Frank Wyatt
363:Frank Wyatt
238:Ivan Caryll
203:during the
180:Composition
85:Frank Wyatt
66:Ivan Caryll
54:Ivan Caryll
46:comic opera
32:Poster for
1428:Categories
1333:References
864:"Cellier.
500:Minestra,
289:Manchester
285:Louie René
169:The Mikado
111:Background
1278:The Times
889:Donizetti
885:burlesque
799:pieces".
736:The Times
531:alchemist
506:Eva Moore
484:contralto
478:Ultrice,
454:Risotto,
432:his Clown
430:Bartolo,
401:Alfredo,
343:Palo Alto
222:guerillas
200:guerillas
93:Eva Moore
994:Magazine
526:Sicilian
515:Synopsis
464:Teresa,
415:Pietro,
376:baritone
336:Ramsgate
1302:The Era
1237:(1878)"
1149:The Era
1134:The Era
923:(1881).
897:called
770:Dorothy
765:The Era
719:Gilbert
470:soprano
423:(later
303:cricket
174:Dorothy
163:Dorothy
117:Gilbert
1449:Operas
1377:
1347:
723:Sedger
651:Act II
565:Act II
489:Nita,
803:Notes
797:Savoy
759:Times
605:Act I
520:Act I
407:tenor
44:is a
1375:ISBN
1345:ISBN
745:and
558:faux
472:) –
448:) –
409:) –
378:) –
310:and
132:The
103:and
95:and
52:and
1077:at
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891:'s
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