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Savoy opera was a style of that developed in Victorian England in the late 19th century, with W. S. Gilbert and as the original and most successful practitioners. The name is derived from the , which Richard D'Oyly Carte built to house the Gilbert and Sullivan pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve a foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern .

Gilbert, Sullivan, Carte and other British composers, librettists and producers,Such as German Reeds, , and F. C. Burnand as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of the often risqué continental European that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", "", or both.See, e. g., Crowther, Stedman, Bailey, Bradley, Ainger and Jacobs. Gilbert & Sullivan described 13 of their 14 collaborations as "operas" or "operatic":

  • Thespis: an "Operatic Extravaganza"
  • The Sorcerer: a "Modern Comic Opera"
  • H.M.S. Pinafore: a "Nautical Comic Opera"
  • The Pirates of Penzance: a "Melo-Dramatic Opera"
  • Patience: an "Aesthetic Opera"
  • Iolanthe: a "Fairy Opera"
  • Princess Ida: "A respectful Operatic Perversion of Tennyson's Princess"
  • The Mikado: a "Japanese Opera"
  • Ruddygore: a "Supernatural Opera"
  • The Yeomen of the Guard: an "Opera"
  • The Gondoliers: a "Comic Opera"
  • Utopia, Limited, a "Comic Opera"
  • The Grand Duke: a "Comic Opera"

They called the 14th, Trial by Jury, a "Dramatic Cantata". However, the Penguin Opera Guides and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas. The New Penguin Opera Guide, ed. Amanda Holden, Penguin Books, London 2001 and The Penguin Concise Guide to Opera, ed. Amanda Holden, Penguin Books, London 2005 both state: " is the internationally recognized term for the type of work on which William Schwenck Gilbert and Sullivan collaborated under Richard D'Oyly Carte's management (1875–96), but they themselves used the words 'comic opera'". See also the Oxford Dictionary of Opera, ed. John Warrack and Ewan West, Oxford University Press 1992 and The New Grove Dictionary of Opera, 4 vols, ed. Stanley Sadie, Macmillan, New York 1992

Gilbert and Sullivan's early operas played at other London theatres, and 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, referred to all thirteen operas that Gilbert and Sullivan wrote for Richard D'Oyly Carte.


Other definitions
During the years when the Gilbert and Sullivan ("G&S") operas were being written, Richard D'Oyly Carte also produced, at the Savoy Theatre, 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.Walters, Michael and George Low. "Curtain Raisers", The Gilbert and Sullivan Archive, 16 August 2011, retrieved 27 February 2017 To his contemporaries, the term "Savoy Opera" referred to any opera that appeared at that theatre, regardless of who wrote it.

Aside from curtain raisers (which are listed in the second table below), the G&S operas were the only works produced at the from the date it opened (10 October 1881) until closed on 20 June 1891. Over the next decade, there were only two new G&S pieces ( and The Grand Duke), both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, and works by other composer–librettist teams. Richard D'Oyly Carte died on 3 April 1901. If the nexus of Carte and the is used to define "Savoy Opera," then the last new Savoy Opera was The Rose of Persia (music by Sullivan, libretto by ), which ran from 28 November 1899 to 28 June 1900.

After Carte's death, his wife assumed management of the theatre. In 1901, she produced Sullivan's last opera, The Emerald Isle (finished after Sullivan's death by ), and during the run of that opera, she hired as manager of the theatre. Later that year, she leased the theatre to Greet, who then produced Ib and Little Christina, The Willow Pattern, a revival of Iolanthe, Merrie England (1902) and A Princess of Kensington (1903), each with a cast made up largely of Carte's Savoy company. Cyril Rollins and R. John Witts adopt A Princess of Kensington as the last of the Savoy Operas. After A Princess of Kensington closed in May 1903, Mrs. Carte leased the theatre to unrelated parties until late 1906, when she produced the first of her two seasons of G&S revivals in repertory at the Savoy, with Gilbert returning to direct.

In March 1909, Charles H. Workman leased the theatre, producing three new pieces, including one by Gilbert, (music by Edward German). The last of these Workman-produced works came in early 1910, Two Merry Monarchs, by Arthur Anderson, George Levy, and Hartley Carrick, with music by . The contemporary press referred to these works as "Savoy Operas",See, e.g., The Manchester Guardian, 17 September 1910, p. 1, advertising The Mountaineers. and S. J. Adair Fitz-Gerald regarded Workman's pieces as the last Savoy Operas.See also Farrell, passim

Fitz-Gerald wrote his book, The Story of the Savoy Opera, in 1924, when these other pieces were still within living memory. But over the ensuing decades, the works produced at the Savoy by composers and librettists other than Gilbert and Sullivan were forgotten or infrequently revived. The term "Savoy Opera" came to be synonymous with the thirteen extant works of Gilbert and Sullivan. The first collaboration of Gilbert and Sullivan – the 1871 opera Thespis – was not a Savoy Opera under any of the definitions mentioned to this point, as Richard D'Oyly Carte did not produce it, nor was it ever performed at the Savoy Theatre. Nevertheless, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith. The Oxford English Dictionary defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre". "Savoy", ''Oxford English Dictionary", Oxford University Press, June 2017, retrieved 9 December 2017


Complete list
The following table shows all of the full-length operas that could be considered "Savoy Operas" under any of the definitions mentioned above. Only first runs are shown. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the next table below.

Gaiety64
Royalty131
Opera Comique178
Opera Comique571
1
100
363
Opera Comique170
Savoy408
Savoy398
Savoy246
Savoy672
Savoy288
Savoy423
Savoy554
Savoy200
Savoy143
Savoy204
Savoy50
Savoy245
Savoy41
61
Savoy97
Savoy123
Savoy61
Savoy104
Savoy50
Savoy143
Savoy213
Savoy205
Savoy16 The Willow Pattern continued to run after Ib and Little Christina closed, as a companion piece to Iolanthe, for an original run of 110 performances.
Cecil Cook
Savoy120
56
Savoy115
Savoy61
Savoy51
Savoy43


Companion pieces
The fashion in the late and was to present long evenings in the theatre, and so full-length pieces were often presented together with companion pieces.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 During the original runs of the Savoy Operas, each full-length work was normally accompanied by one or two short companion pieces. A piece that began the performance was called a curtain raiser, and one that ended the performance was called an afterpiece. W. J. MacQueen-Pope commented, concerning the curtain raisers:

This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... They served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.MacQueen-Pope, Walter James. Carriages at Eleven (1947), London: Robert Hale and Co., p. 23

The following table lists the known companion pieces that appeared at the Opera Comique or the Savoy Theatre during the original runs and principal revivals of the Savoy Operas through 1909. There may have been more such pieces that have not yet been identified. In a number of cases, the exact opening and closing dates are not known. Date ranges overlap, since it was common to rotate two or more companion pieces at performances during the same period to be played with the main piece.

Many of these pieces also played elsewhere (and often on tour by D'Oyly Carte touring companies). Only the runs at the Opera Comique and the Savoy are shown here.

Dora's DreamOpera Comique17 November 18777 February 1878*
The Spectre KnightOpera Comique9 February 187823 March 1878
28 May 187810 August 1878Pinafore
Trial by JuryW. S. GilbertOpera Comique & Savoy23 March 187824 May 1878
11 October 188412 March 1885
22 September 189831 December 1898
6 June 189925 November 1899Pinafore
Beauties on the BeachOpera Comique25 May 18785 August 1878Pinafore
14 October 18785 December 1878*
A Silver WeddingOpera Comiquepart of 1878Pinafore
Five HamletsOpera Comique? 187812 October 1878Pinafore
Cups and SaucersOpera Comique5 August 1878*20 February 1880Pinafore
After All!Opera Comique16 December 1878*20 February 1880Cups and Saucers
? Feb. 188020 March 1880Children's Pinafore
Savoy23 November 18954 March 1896 & Grand Duke
4 April 18968 August 1896
7 May 189716 June 1897Yeomen
In the SulksOpera Comique21 February 1880?Pirates
21 February 188020 March 1880Children's Pinafore
3 April 18802 April 1881Pirates
23 April 1881*2 May 1881Patience
Savoy11 October 188114 October 1881
Arthur LawOpera Comique3 May 18818 October 1881Patience
Mock TurtlesSavoy11 October 188122 November 1882Patience
25 November 188230 March 1883
A Private WireSavoy31Mar. 18831 January 1884
The Carp & Arnold FelixSavoy13 February 188619 January 1887
21 February 18875 November 1887
Mrs. Jarramie's Genie & François CellierSavoy14 February 1888? Nov. 1889Pinafore, Pirates, , Yeomen
François CellierSavoy24 September 189116 January 1892Nautch Girl
1 February 189218 June 1892Vicar of Bray
Mr. JerichoSavoy18 March 189315 April 1893Haddon Hall
3 June 18931 July 1893
Quite an AdventureSavoy15 December 189429 December 1894
Cox & BoxF. C. BurnandSavoy31 December 189416 March 1895
Weather or No & William BeachBertram Luard-SelbySavoy10 August 189617 February 1897
2 March 189724 April 1897His Majesty
François CellierSavoy17 June 189731 July 1897Yeomen
16 August 189720 November 1897
10 December 189712 March 1898The Grand Duchess of Gerolstein
22 March 1898*21 May 1898
Pretty PollyFrançois CellierSavoy19 May 190028 June 1900The Rose of Persia
8 December 190020 April 1901Patience
The OutpostAlbert O'Donnell BartholeynsSavoy2 July 19003 November 1900Pirates
8 November 1900*7 December 1900Patience
The Willow PatternCecil CookSavoy14 November 190129 November 1901Ib and Little Christina
(revised version)9 December 190129 March 1902
A Welsh SunsetPhilip Michael FaradaySavoy15 July 190817 October 1908Pinafore & Pirates
2 December 190824 February 1909

*Indicates an approximate date.


Notes

Sources

Further reading


External links

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