Our website is made possible by displaying online advertisements to our visitors.
Please consider supporting us by disabling your ad blocker.
Savoy opera
Savoy opera was a style of comic opera that developed in Victorian England in the late 19th century, with W. S. Gilbert and Arthur Sullivan as the original and most successful practitioners. The name is derived from the Savoy Theatre, which impresario 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 musical.
Gilbert, Sullivan, Carte and other Victorian era British composers, librettists and producers,[1] 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 operettas that they wished to displace. Most of the published literature on Gilbert and Sullivan since that time refers to these works as "Savoy Operas", "comic operas", or both.[2] However, the Penguin Opera Guides and many other general music dictionaries and encyclopedias classify the Gilbert and Sullivan works as operettas.[3]
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.
- ^ Such as German Reeds, Frederic Clay, Edward Solomon and F. C. Burnand
- ^ 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"
- ^ 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: "Operetta 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
Previous Page Next Page
