HMS Pinafore
 Theater poster for the world premiere of HMS Pinafore, 1878
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| Original title: | HMS Pinafore; or, The Lass that Loved a Sailor |
| Shape: | operetta |
| Original language: | English |
| Music: | Arthur Sullivan |
| Libretto : | WS Gilbert |
| Premiere: | May 25, 1878 |
| Place of premiere: | London, Opera Comique |
| Playing time: | 1½– 2 hours |
| Place and time of the action: | Portsmouth, England, second half of the 19th century |
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HMS Pinafore; or, The Lass that Loved a Sailor ( German : 'HMS Pinafore, or The girl who loved a sailor') is an operetta (original name: comic opera ) in two acts with music by Arthur Sullivan based on a libretto by WS Gilbert . The premiere took place on May 25, 1878 in the London Opera Comique theater . With a total of 571 performances in a row, the piece had the second longest performance time of a musical stage work to date. HMS Pinafore was Gilbert and Sullivan's fourth opera production together, and their first international success.
The story takes place on board the British warship HMS Pinafore. Josephine, the captain's daughter, is in love with the sailor Ralph Rackstraw, even though her father wants to marry her to Sir Joseph Porter, First Lord of the Admiralty . Josephine initially follows her father's will, but after Sir Joseph has pleaded for equality between people, Ralph and Josephine confess their love and plan a secret marriage. The captain learns of this plan, but as in many other Gilbert and Sullivan operettas, a surprising revelation turns everything upside down in the end.
The operetta depicts in a humorous way the love between members of different social classes and thus mocks the British class system. In addition, making Pinafore about patriotism , party politics, the Royal Navy and the rise of unqualified people to positions of responsibility funny.
The extraordinary popularity of pinafore in Great Britain and the United States served as the starting point for a number of other operettas by Gilbert and Sullivan . These works, later known as Savoy Operas, dominated the musical stage on both sides of the Atlantic for over a decade. The structure and style of these operettas, especially Pinafore, were often copied and contributed significantly to the development of modern musicals .
History of origin
In 1875, Richard D'Oyly Carte , then impresario of the Royalty Theater under Selina Dolaro , commissioned Gilbert and Sullivan to create their second joint work, the one-act Trial by Jury . This operetta proved to be a success, and in 1876 Carte found several financiers to finance the Comedy-Opera Company, which was to produce and market the family-friendly English operetta. This gave Carte the necessary financial resources to produce a new, full-length Gilbert and Sullivan operetta after many failed attempts. This next operetta, The Sorcerer , had its premiere in November 1877. This work was also successful with 178 performances. The sheet music for the work sold well, and street musicians played the melodies.
Rather than having a producer perform the play, as was common in Victorian theaters, Gilbert, Sullivan and Carte produced the performance from their own resources. This enabled them to choose their own cast without having to use the actors they already had. For the production, they hired talented actors, mostly little known and not demanding high salaries, and who they could teach a more naturalistic acting than was common at the time. Then they adapted their work to the individual strengths and weaknesses of the actors. As the critic Herman Klein reported, Gilbert's and Sullivan's skillful use of the actors made an impression on the audience: “We secretly admired the naturalness and ease with which Gilbert's jokes and absurdities were presented and performed, because until then no human soul had had such strange, eccentric and yet deeply human beings seen on stage ... They conjured up a hitherto unknown comic world full of delight. "
The success of The Sorcerer paved the way for Gilbert and Sullivan to continue working together. Carte agreed with his partners on the terms for a new operetta, so that Gilbert could start work on HMS Pinafore towards the end of 1877 . Gilbert was familiar with the subject of seafaring since his father had been a ship's doctor. For his libretto he used his humorous collection of poems by Bab Ballad . The poems contained there often had seafaring as their content, such as Captain Reece (1868) and General John (1867), and also served as models for some roles. Dick Deadeye is based on a character in Woman's Gratitude (1869); an early equivalent of Ralph Rackstraw is found in Joe Go-Lightly (1867), where a sailor falls in love with the daughter of a senior. Little Buttercup was taken from The Bumboat Woman's Story (1879). On December 27, 1877, Gilbert Sullivan, who was on vacation on the Côte d'Azur , sent a plot of the action along with the following note:
“I have little doubt that you will enjoy it. ... there are a lot of jokes in it that I didn't write down, including a song (a kind of "judge's song" [from Trial by Jury ]) for the First Lord, who spoke of his career as an errand boy ... clerk, traveler, junior partner and first lord told the British Navy… Of course there will be no personality in it - the fact that the First Lord is a downright radical in opera will dispel any suspicion that WH Smith was meant. ”
Despite Gilbert's denials, the public, critics, and even the Prime Minister, Sir Joseph Porter later identified with WH Smith, a politician who had recently been appointed First Lord of the Admiralty despite lacking any military or nautical experience. Sullivan was delighted with Gilbert's idea, and in mid-January Gilbert D'Oyly Carte read a draft of the plot.
Gilbert followed his example, Thomas William Robertson , by making sure that the costumes and set were as realistic as possible. While preparing the sets for HMS Pinafore , Gilbert and Sullivan visited Portsmouth in April 1878 to take a close look at the ships. Gilbert drew sketches of the HMS Victory and made a model that the artisans used in their work. This approach was a far cry from common practice in Victorian drama, where naturalism was still considered a relatively new concept and most writers had little influence over the staging of their plays and librettos. The attention to detail was characteristic of Gilbert's directorial work and was used in all of his Savoy operas. The correctness of the visual representation provided a point of reference that emphasized the bizarre and absurdity of the situation. Sullivan's work as a composer was "in full swing" in mid-April 1878. The cast began with musical rehearsal on April 24, and in early May 1878 the two writers worked closely together in Sullivan's apartment to complete the piece.
For Pinafore , Gilbert, Sullivan and Carte envisioned several leading actors who had already played in The Sorcerer . As Gilbert suggested to Sullivan in December 1877, “Mrs. Cripps [Little Buttercup] will be a great role for [Harriett] Everard… [Rutland] Barrington will be an excellent captain and Grossmith will be a first class first lord. ”However, the voice of Mrs. Howard Paul, who was already Lady Sangazure in The Sorcerer had played deteriorated. She was contractually obliged to take on the role of cousin Hebe in Pinafore . Gilbert tried at first to write an amusing role for her, although Sullivan was averse to her use. But in mid-May 1878 Gilbert and Sullivan made the decision to exclude them from the occupation; disappointed in her role, she resigned. Just a week before the premiere, Carte hired concert singer Jessie Bond to play Hebe. Since Bond had little acting experience, Gilbert and Sullivan shortened their dialogue except for a few lines in the last scene, which they converted into a recitative . Newly hired actors also included Emma Howson and George Power as Josephine and Ralph, whose voices improved the soprano and tenor in The Sorcerer .
Gilbert has directed his own plays and operas. He attached as much importance to the lifelike drama as to a realistic stage design. He rejected self-confident interaction with the audience and called for a style of presentation in which the characters were never aware of their own absurdity, but rather formed coherent units. Sullivan conducted the musical rehearsals. As with his later operas, he only dealt with the overture at the very end , leaving the musical director of the company, in this case Alfred Cellier , a draft for elaboration. The premiere of Pinafore took place on May 25, 1878 at the Opera Comique theater.
content
action
first act
The British warship HMS Pinafore is anchored off Portsmouth. The sailors are on the quarter deck , proudly "cleaning brass parts, splicing ropes, etc."
Little Buttercup, a saleswoman in the harbor, the “rosiest, roundest and reddest beauty in all of Spithead ”, comes on board to sell the crew's goods. She suggests that she hides a dark secret beneath her "happy and easy-going appearance". Ralph Rackstraw, "the smartest fellow in the whole fleet," enters the scene and confesses that he loves Josephine, the captain's daughter. His comrades express their condolences - with the exception of Dick Deadeye, the team's grim and ugly realist - but can give Ralph little hope that his love will be heard.
The proud and popular captain expresses his appreciation for his “fearless crew” and says that he reciprocates for their politeness by never (“well, hardly ever”) using swear words like “a big, big D”. After the sailors leave the scene, Captain Little Buttercup admits that Josephine is reluctant to propose marriage to Sir Joseph Porter, First Lord of the Admiralty. Buttercup replies that she knows what unhappy love feels like. After she withdrew, the captain noticed that she was a "buxom and lovely person". Josephine enters the scene and reveals to her father that she loves a simple sailor from his crew, but asserts that she is a dutiful daughter and would never express her love for the sailor.
Sir Joseph comes on board, accompanied by his "admiring host of sisters, cousins and aunts". He tells how he worked his way up to “head of the royal fleet” through persistence from a humble background without having any qualifications in seafaring. He then teaches an embarrassing lesson in etiquette. He warns the captain to say “if I may ask” after every order, because “a British soldier is equal to everyone” - with the exception of Sir Joseph. He has composed a song about this and gives Ralph a copy. Encouraged by Sir Joseph's views on equality, Ralph soon decides to confess his love to Josephine. His comrades are delighted, with the exception of Dick Deadeye, who claims that "when people have to obey other people's orders, there is no question of equality." Shocked by his words, the other sailors force Dick to listen to Sir Joseph's song before leaving the scene and leaving Ralph alone on the deck. Josephine steps on deck and Ralph confesses his love to her in words that are unusually eloquent for an "ordinary sailor". Josephine is touched, but knows that it is her duty to marry Sir Joseph instead of Ralph, even if she finds Sir Joseph's courtship disgusting. She hides her true feelings and "haughtily" rejects Ralph's declaration of love.
Ralph calls his shipmates - Sir Joseph's female relatives are also coming - and explains to them that he is close to suicide. The crew express their condolences, again with the exception of Dick. When Ralph puts a gun to his temple, Josephine rushes over and confesses that she ultimately loves him. Ralph and Josephine plan to steal ashore at night to secretly marry. Dick Deadeye admonishes them "not to go ahead with the project", but the cheerful company ignores him.
Second act
On the night of the full moon, Captain Corcoran ponders his worries: his “well-meaning crew rebels”, his “daughter is fond of a sailor”, his friends seem to be abandoning him, and Sir Joseph threatens court-martial. Little Buttercup expresses sympathy. The captain confesses that he would have reciprocated her affection if her social class had not separated her. Buttercup realizes that not everything is what it seems and that "a change" awaits him, but the captain does not understand her mysterious hints.
Sir Joseph enters and complains that Josephine has not yet returned his proposal. The captain speculates that she is intimidated by his "high rank" and that she would surely accept his proposal if Sir Joseph could convince her that "love paves the way for all ranks". After they both leave, Josephine enters the scene, still feeling guilty about the planned escape and worried that she will have to give up a life of luxury. When Sir Joseph makes his argument that love transcends hierarchy, Josephine is pleased to say that she "will not hesitate any longer." The captain and Sir Joseph are delighted, but Josephine is secretly more determined than ever to marry Ralph.
Dick Deadeye tells the captain of the two lovers' plan to run away. The captain meets Ralph and Josephine as they both want to steal from the ship. Both declare their love and justify their plan with the fact that "he is an Englishman!" The angry captain remains unaffected and blurts out with “Damn it, that's too bad!” (“Why, damme, it's too bad!”). Sir Joseph and his relatives, who have heard his curse, are appalled to hear swear words aboard a ship, and Sir Joseph orders the captain to be locked in his cabin.
When Sir Joseph asks what caused the otherwise polite captain's outburst, Ralph explains that it was his declaration of love for Josephine. Again enraged by this revelation, and ignoring Josephine's request for mercy, Sir Joseph orders Ralph to be chained and taken to the ship's prison. Little Buttercup now steps forward and reveals her long-kept secret. Many years ago, as a wet nurse, she was entrusted with two babies, one from the "lower class" and the other from the upper class. She admits that she “switched both children ... the well-born child was Ralph; your captain was the other. "
Sir Joseph now realizes that Ralph should be the captain, and the captain Ralph. He summons both of them and each appears in the other's uniform: Ralph as captain of the Pinafore, and Corcoran as ordinary seaman. Sir Joseph now considers a marriage to Josephine to be “impossible”: “Love levels all ranks ... to a considerable degree, but it does not level them to that extent.” He leaves Josephine to Captain Rackstraw. The now low rank of the former captain allows him to marry Buttercup. Sir Joseph is content with his cousin Hebe, and the scene ends in general cheers.
Musical numbers
Original orchestral scoring: 2 flutes, oboe, 2 clarinets, bassoon, piccolo, 2 horns, 2 trombones, 2 cornets, 2 timpani, percussion
Source of audio samples: D'Oyly Carte Opera Company recording, conducted by Isidore Godfrey, 1960
| overture | ||
| first act | ||
| 1. | "We sail the ocean blue" (sailors) | |
| 2. | "Hail! men-o'-war's men "..." I'm called Little Buttercup "(Buttercup) | |
| 2a. | "But tell me who's the youth" (Buttercup and Boatswain) | |
| 3. | "The nightingale" (Ralph and Sailor Choir) | |
| 3a. | "A maiden fair to see" (Ralph and sailor choir) | |
| 4th | "My gallant crew, good morning" (captain and sailors' choir) | |
| 4a. | "Sir, you are sad" (Buttercup and Captain) | |
| 5. | "Sorry her lot who loves too well" (Josephine) | |
| 5a. | Crossed out song: "Reflect, my child" (Captain and Josephine) | |
| 6th | "Over the bright blue sea" (female relatives choir) | |
| 7th | "Sir Joseph's barge is seen" (choir of sailors and female relatives) | |
| 8th. | "Now give three cheers" (captain, Sir Joseph, cousin Hebe and choir) | |
| 9. | "When I was a lad" (Sir Joseph and choir) | |
| 9a. | "For I hold that on the sea" (Sir Joseph, cousin Hebe and Chor) | |
| 10. | "A British tar" (Ralph, boatswain's mate, carpenter's mate and sailors' choir) | |
| 11. | "Refrain, audacious tar" (Josephine and Ralph) | |
| 12. | Finale, first act: "Can I survive this overbearing?" | |
| Entracte | ||
| Second act | ||
| 13. | "Fair moon, to thee I sing" (captain) | |
| 14th | "Things are seldom what they seem" (Buttercup and Captain) | |
| 15th | "The hours creep on apace" (Josephine) | |
| 16. | "Never mind the why and wherefore" (Josephine, Captain and Sir Joseph) | |
| 17th | "Kind Captain, I've important information" (Captain and Dick Deadeye) | |
| 18th | "Carefully on tiptoe stealing" (solos and choir) | |
| 18a. | "Pretty daughter of mine" (captain and ensemble) and "He is an Englishman" (boatswain and ensemble) | |
| 19th | "Farewell, my own" (Ralph, Josephine, Sir Joseph, Buttercup and Chor) | |
| 20th | "A many years ago" (Buttercup and Choir) | |
| 20a. | "Here, take her, sir" (Sir Joseph, Josephine, Ralph, cousin Hebe and choir) | |
| 21st | Finale: “Oh joy, oh rapture unforeseen” (Ensemble) The finale contains reprises of various songs, with “For he is an Englishman” as a conclusion |
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Versions and cuts
Ballad for Captain Corcoran, "Reflect, my child"
During rehearsals for the premiere, Gilbert added a ballad for Captain Corcoran in which the latter urges his daughter to forget her beloved sailor, because "with every step he would commit tactlessness that society would never forgive him". This ballad was supposed to be performed between nos. 5 and 6 of the final version, but was canceled before the premiere. The words have been preserved in the libretto that was deposited with Lord Chamberlain for licensing. Before 1999, only the concertmaster's voice was preserved of Sullivan's composition .
In April 1999 the Sullivan researchers Bruce I. Miller and Helga J. Perry discovered the almost complete score in a private collection. The material was published together with a reconstruction of the partly lost baritone part and second violin part. The piece has already been performed and recorded several times by opera companies, but has so far not been an integral part of performance materials or recordings.
Dialogue for cousin Hebe
The licensed copy of the libretto contained lines of dialogue for Sir Joseph's cousin Hebe in several scenes of the second act. In the scene that follows No. 14 ("Things are seldom what they seem"), she accompanies Sir Joseph onto the stage and repeats his dissatisfied remarks about Josephine. After she has interrupted Sir Joseph several times, he admonishes her to calm down, whereupon she exclaims “crushed!” (“Downed!”). Gilbert later used these passages for Lady Jane in Patience . Hebe also had some lines of dialogue after No. 18 (“Carefully on tiptoe stealing”) and after No. 19 (“Farewell, my own”).
In later rehearsals for the premiere, Jessie Bond took on the role of Hebe, replacing Mrs. Howard Paul. Bond, who had previously pursued a career as a concert singer and had little acting experience, felt unable to deliver the dialogue, so these passages were deleted. Hebe's dialogue is occasionally restored in recent performances, especially the lines in the scene after # 14.
Recitative before the finale of the second act
The dialogue before the finale of the second act, beginning with "Here, take her sir, and mind you treat her kindly", was originally a recitative. The music for this passage was printed in the first edition of the set of parts as No. 20a. Shortly after the premiere, the recitative was converted into an ordinary dialogue. In some recent performances the recitative has been restored.
analysis
The theater historian John Bush Jones wrote that Pinafore has “everything that a visitor to a musical theater can expect: a rousing and even comparatively exciting story is filled with diverse and well-crafted roles that speak and sing droll, witty and often incredibly funny dialogues and song texts . The music contains an abundance of melodies that the audience wants to take home with them humming ”. Sir George Power, who first cast Ralph Rackstraw, saw the secret of the Savoy Operas' success in the way in which “Sullivan hit the spirit of Gilbert's crazy humor, and was pompous when Gilbert was lively, or deliberately so Mood exaggerated whenever Gilbert's satire was at its most daring and biting ”.
Satire and comedy
Even the title of the work is funny, as it transfers the name for a children's apron (English pinafore ) to a warship. Biographer Jane Stedman wrote that Pinafore was "considerably more complex in terms of satire" than The Sorcerer . She pointed out that Gilbert had used several ideas and themes from his Bab Ballads ; for example, the idea of the captain's ugly behavior in front of his crew comes from Captain Reece (1868) and the reversal of the hierarchy by being swapped after birth comes from General John (1867). Dick Deadeye, based on a character in Woman 'Gratitude (1867), embodies another satirical - and semi-autograph - theme that Gilbert repeatedly took up: the misanthropic deformity that is unpopular for its repulsive appearance, despite being the voice of the It embodies common sense and common sense. Gilbert also resorted to his operetta The Gentleman in Black (1870), in which the swap of babies also occurs.
Historian HM Walbrook wrote in 1921 that Pinafore parodies “the kind of marine drama, of which Douglas Jerrold's Black-Eyed Susan is typical , and that 'God's Englishman' kind of patriotism, which consists of shouting platitudes, acting and little or to do nothing to serve his country ”. In 2005, Australian opera director Stuart Maunder commented on the juxtaposition of satire and nationalism in operetta: “They all sing 'He is an Englishman', and you know for sure that they ridicule it, but the music is so military ... that you can't help but be drawn into the whole jingoism of the British Empire. "In addition, the song ties in with the satire on class differences:" HMS Pinafore is basically a satire on the British love of the class system ... In this one At the moment all the men on board say: 'But of course Ralph can marry the daughter of the captain, because he's British and that's why he's great' ".
Gilbert's popular comic themes include the rise of unqualified people to positions of responsibility. Gilbert, for example, in The Happy Land (1873) describes a world in which government agencies are entrusted to the most unsuitable person; in particular, someone who has never heard of ships is made First Lord of the Admiralty. Gilbert took up this topic again in Pinafore : Sir Joseph rises to that very post because he "never goes to sea". Correspondences can also be found in the later Gilbert and Sullivan operettas, such as Major-General Stanley in The Pirates of Penzance and Ko-Ko in The Mikado . The character of Sir Joseph caricatures not only the lack of qualification of WH Smith, but also the ostentatiously decent demeanor for which he was known. Gilbert also makes fun of party politics by saying that Sir Joseph “always chooses according to the wishes of the party”, thus giving up his personal integrity. The "commercial middle class", from which most of Gilbert's viewers came, is portrayed just as satirically as the lower class and social climbers. The age difference between Ralph and the captain, both of whom were raised together, parodies the changing age of Thaddeus in Michael William Balfe's operetta The Bohemian Girl .
One theme that runs through the operetta is the love of members of different social classes. In the previous Gilbert and Sullivan operetta, The Sorcerer, a love potion causes problems by making villagers and wedding guests fall in love with people from different social classes. Although in Pinafore the captain's daughter loves an ordinary sailor, she dutifully tells him: "I proudly reject the love you have shown". He expresses his affection in a poetic and poignant speech that ends with “I am a British sailor and I love you”. It is only at the end that it turns out that he is really of a higher rank. This is a parody of the Victorian “Equality Drama”, which includes , for example, Lord Lytton's The Lady of Lyons (1838). In this play, the heroine rejects a virtuous farmer who ends his equally moving speech with “I am a farmer!”. It later turns out that he has become her social manager. In addition, Sir Joseph affirmed in Pinafore that love "paves the way for all grades". In Tom Taylor's The Serf, the heroine also loves a farmer who rises to a higher position, so that in the end she finds that love “balances everything”. In a parody of the freedom-loving portrayal of the seafarer's melodrama, Sir Joseph explains to the crew of the Pinafore that they are "equal to every man" (except himself) and writes them a song that glorifies the British sailors. In contrast, he humiliates the proud captain by asking him to " dance a hornpipe on the cabin table". Jones notes that the relationship between Ralph and Josephine "only becomes acceptable through Buttercup's absurd admission of the swapping of the children in Act II" and concludes that Gilbert "is a conservative satirist who ultimately advocated maintaining the status quo ... and." wanted to show that love just doesn't level all ranks ”.
Biographers disagree as to whether Gilbert, as Jones claims, was an advocate of the social conditions of the day and focused more on entertainment, or whether he was essentially parodying and “going against the follies of his time”. Andrew Crowther believes that these differing views go back to Gilbert's "techniques of reversal - through irony and upside-down positions", which is why "the superficial statements in his works would be the opposite of the underlying statements". According to Crowther, Gilbert wanted to "celebrate" and mock social norms at the same time. HMS Pinafore gave Gilbert the opportunity to express his own ambivalent feelings, which "also found tremendous resonance with the general public." The work is "a highly intelligent parody of the nautical melodrama ... albeit dominated by the conventions that it mocks". While nautical melodrama glorifies the common sailor, in Pinafore Gilbert turns the advocate of equality, Sir Joseph, into an inflated and hypocritical member of the ruling class, unable to apply the concept of equality to himself. The sailor hero Ralph is convinced of his equality through Sir Joseph's bold statements and disregards the social structure by confessing his love to the daughter of the captain. At this point, according to Crowther, Gilbert's satirical argument should logically have led to Ralph's arrest. But in order to do justice to the convention, Gilbert had brought about an obvious absurdity: the captain and Ralph were exchanged as children. When Ralph suddenly becomes the appropriate husband for Josephine through a coincidental event, both the prevailing social order and a romantic happy ending can be guaranteed. Crowther draws the conclusion that one is dealing with an operetta that "uses and mocks all the conventions of melodrama, but in the end it is difficult to determine who has won, the conventions or the ridicule". The far-reaching success of the work was due to the fact that it addressed all groups equally: the intellectual audience who expected satire, the middle-class theater-goer who was looking for a reassuring confirmation of the social order, and the worker who witnessed a melodramatic victory of the "Little man" became.
music
The most famous songs of the operetta include the waltz "I'm called Little Buttercup", which introduces the character and which Sullivan repeats in the entracte and in the finale of the 2nd act in order to impress the listener with the melody. Also known is "A British tar", a glee for three men, which describes the exemplary sailor. Another well-known piece is Sir Joseph's song "When I was a Lad", which tells of his rapid career.
Music researcher Arthur Jacobs believes that Gilbert's plot "excelled Sullivan's talent excellently." In the captain's opening song, “I am the Captain of the Pinafore”, he confesses that his urbane behavior “never… well, hardly ever” gives way to sweary words and that as an experienced sailor he “hardly ever” suffers from seasickness. Sullivan “unerringly found the right background music for the words 'how, never?' ... skillfully emphasized ... through the chromatic playing of the bassoon ”. Volker Klotz notes that under Sullivan the dialogue between the captain and the sailors " takes on an almost church-liturgical response form " that "completely overstates the distortion of the actual power relations".
The gradual increase in expression with the announcement of Sir Joseph, beginning as a “tender, invisible ladies choir” (“Over the bright blue sea”) to the sailor choir (“Sir Joseph's barge is seen”) to the pompous climax in “Now give three cheers” "Represents a strange contrast to the following musical anticlimax , according to Klotz , in which the official only lets out" a silly, mischievous couplet "(" When I was a lad ").
Sullivan used minor keys to create a comical effect, as in "Kind Captain, I've Important Information." The composer and Sullivan biographer Gervase Hughes was impressed by the introduction to the opening choir, which “contains a lively seafaring melody ... in an uncomplicated key, C major ... a modulation in the minor mediante , where, to our surprise, a melancholy oboe plays the first Verse of 'Sorry her lot' in ² / 4 - time . After that, in the local dominant key of B flat major, the violins announce Little Buttercup (still in ² / 4 ) ... at an encounter under these circumstances one would hardly expect her to appear later as the waltz queen ... the bassoon and double basses ... vigorously perform Validity of who is the captain of the Pinafore ... in the improbable key of A flat minor ... Buttercup makes one last-ditch effort to make himself heard in D flat minor, but the others never knew such a fancy key existed. To follow all the sudden return back to C major in the good old 6 / 4 -Stroke back ".
According to Jacobs, “Ralph, Captain Corcoran, Sir Joseph and Josephine all thrive on their interactive music (especially 'Never mind the why and wherefore'), and almost as much musical elements are used for two characters parodying opera or melodrama namely Little Buttercup with 'gypsy blood in their veins' and Dick Deadeye with his heavy steps ”. Sullivan researcher David Russell Hulme pointed to Sullivan's parody of operatic styles, “especially the Handelian recitatives and the runaway scene that brings back memories of many nightly operatic conspiracies, but best of all is the parody of the patriotic melody in 'For he is an Englishman! '”The satire of the song is emphasized by the octave jump to“ He is an Englishman ”. The parody of the exaggerated pathos of Italian opera becomes clear in Josephine's solo “The hours creep on apace”. According to Volker Klotz, the trio “Never mind the why and wherefore” uses the “familiar scheme of the number opera ” so strikingly that it becomes abundantly clear to the audience: Despite the coherent ensemble, the interests of the people diverge - Josephine is secretly planning to marry Ralph - so that everyone pursues their own part of the voice undeterred. Buttercup's song in the second act, in which she reveals that she had swapped the children, begins with a quote from Franz Schubert's Erlkönig and also parodies Verdi's opera Il trovatore . Jacobs points out that Sullivan left his own humorous traces in the music by setting banal utterances in " Donizetti-like recitatives". In other cases, such as in Josephine's and Ralph's duet “Refrain, audacious tar”, Sullivan found parody inappropriate and only used the dramatic style of Italian opera to provide musical accompaniment to the emotional circumstances.
Performances
First performances in Great Britain
The premiere of Pinafore took place on May 25, 1878 in the Opera Comique in front of an enthusiastic audience. Sullivan was a conductor at the premiere. However, ticket sales soon declined, generally attributed to a heat wave that made the little Opera Comique particularly stuffy and uncomfortable. The historian Michael Ainger questions this explanation, at least in part, because the heat waves in the summer of 1878 were short and temporary. In any case, in mid-August, Sullivan wrote to his mother saying that the weather was cooler, which would benefit sales. Carte made the play more widely known by giving an early performance at the Crystal Palace on July 6, 1878 . In the meantime, the directors of the Comedy Opera Company had lost confidence in the profitability of the operetta and announced that they would discontinue the play. After the number of visitors increased at short notice, the announcement was temporarily withdrawn. In order to ensure the continuation of the performances, the artists' fees were reduced by a third.
In late August 1878, Sullivan performed excerpts from the music from Pinafore, which were edited by his assistant Hamilton Clarke , at several successful promenade concerts in Covent Garden . These concerts generated interest and increased ticket sales. In September, Pinafore was performed in front of a packed audience at the Opera Comique. The piano reductions had sold 10,000 copies, and Carte was soon sending two more opera companies to tour the province. Carte convinced Gilbert and Sullivan that it would be beneficial to have all three partners, and planned to break away from the board of directors of the Comedy-Opera Company. The Opera Comique had to close over Christmas 1878 due to work on the drainage system. Carte used the forced closure of the theater building to invoke a contractual clause that reverted the rights to Pinafore and Sorcerer to Gilbert and Sullivan after the first series of HMS Pinafore performances . As a result, on February 1, 1879, Carte leased the opera for six months. At the end of the six months, Carte planned to inform the Comedy Opera Company that their rights to the production and the theater building had expired.
Meanwhile, numerous unlicensed productions of Pinafore began in the United States to great acclaim , beginning with a premiere in Boston on November 25, 1878. Pinafore became the source of popular words on both sides of the Atlantic, such as the following dialogue:
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In February 1879, the performances of Pinafore at the Opera Comique were resumed. In addition, tours took place again from April. In June two companies went on tour in the province, one with Richard Mansfield as Sir Joseph, the other with William Sydney Penley in the role. Carte, hoping for income from American performances, went to New York in June. There he prepared an "authentic" production of Pinafore , the rehearsals of which were to be personally directed by the author and composer. For the production of Pinafore and for the planned premiere of the following Gilbert and Sullivan operetta in New York, he rented a theater and had choir singers. He also planned to tour with Pinafore and Sorcerer .
As agreed with Carte and Gilbert, Sullivan announced in early June 1879 to the Comedy-Opera Company partners that the contract to perform Pinafore would not be renewed and that he would withdraw the performing rights to his music on July 31st. The disgruntled partners then announced that they would have Pinafore performed in another theater and took legal action against Carte and the others. They offered the performers in London and the touring companies a higher fee to play in their performances. Although some choir members agreed, only one lead actor changed, Mr. Dymott. The partners rented the Imperial Theater for the performance , but they did not have a set. So they ordered a group of thugs to steal the sets and props during the second act of the evening performance on July 31st. Gilbert was absent that evening and Sullivan was recovering from an operation. Stage workers and actors managed to avert the attack backstage. The stage manager Richard Barker and other employees were injured in this incident. The performance continued until someone shouted "Fire!" George Grossmith, who played Sir Joseph, stepped in front of the curtain to calm the panicked onlookers. After the police had been called to restore order, the performance continued. Gilbert sued the former partners to stop their production of HMS Pinafore . The court allowed the performances at the Imperial to continue on August 1, 1879. The competing production continued at the Olympic Theater from September , but did not achieve the popularity of the D'Oyly Carte production, and was discontinued in October after 91 performances. The matter ultimately went to court, where a judge ruled in favor of Carte two years later.
Upon his return to London, Carte began a new partnership with Gilbert and Sullivan to distribute the proceeds from the performances evenly. Meanwhile, pinafore continued to be performed frequently. On February 20, 1880, Pinafore concluded the first season after a total of 571 presentations. Up until then, only one musical stage work had been performed longer worldwide, namely Robert Planquette's operetta Les cloches de Corneville .
Pinafore in the United States
In 1878 and 1879, there were about 150 different new productions of HMS Pinafore in the United States , none of which paid royalties to the authors. The first performance, which took place on November 25, 1878 in the Boston Museum without the knowledge of the authors, caused so much sensation that the piece was performed in large cities and on tours by dozen companies within a short time. There have been at least a dozen productions in Boston alone, including a children's play described by Louisa May Alcott in her short story Jimmy's Cruise in the Pinafore . In New York, the work was being performed in eight theaters within less than five blocks at the same time.
These unlicensed performances took a variety of forms, including burlesques , men who took on the female roles and vice versa, parodies, variety shows , minstrel show adaptations, children's performances , those with an exclusively black or Catholic cast, German, Yiddish and other foreign language versions and performances Boats or with church choirs. Arrangements as notation were popular, there were dolls and household appliances to match the pinafore theme, and references to operetta were often found in advertising, the news, and other media. Gilbert, Sullivan, and Carte filed lawsuits in the United States and tried unsuccessfully for years to enforce American performance rights or at least collect some royalties. Sullivan particularly regretted that the American in-house productions conveyed his music in a "distorted form". For their next operetta, The Pirates of Penzance, they tried to secure their claims by having the official world premiere in New York.
On April 24, 1879, Gilbert, Sullivan, and Carte met to make plans for their own performance of Pinafore in America. Carte traveled to New York in the summer of 1879 and made arrangements with stage director John T. Ford to present the first authorized performance of Pinafore at the Fifth Avenue Theater . He returned to America in November with Gilbert, Sullivan and a group of eminent singers, including John Handford Ryley as Sir Joseph, Blanche Roosevelt as Josephine, Alice Barnett as Little Buttercup, Furneaux Cook as Dick Deadeye, Hugh Talbot as Ralph Rackstraw and Jessie Bond as cousin Hebe. There were also some American singers, including Signor Brocolini (John Clark) as Captain Corcoran. Alfred Cellier came to support Sullivan while his brother François stayed in London to direct the performances there.
The first performance of this Pinafore production took place on December 1, 1879, with Gilbert as a choir member. The performances ran throughout December. After a relatively busy first week, attendance dropped rapidly as most New Yorkers had already seen Pinafore performances . This unexpected twist forced Gilbert and Sullivan to quickly finish and rehearse their next operetta, The Pirates of Penzance . The premiere took place on December 31st with great success. Shortly thereafter, Carte sent three touring theaters to the East Coast and the Midwest to perform Pinafore along with The Sorcerer and Pirates .
D'Oyly Cartes children's performance
The unauthorized children's performances of Pinafore were so popular that Carte staged its own version, which ran from December 16, 1879 in the morning at the Opera Comique. François Cellier, who had taken over his brother's post as Cartes chief conductor in London, arranged the work for children's voices. Between the two Christmas seasons, from August 2, 1880 to December 11, 1880, the performance went on a provincial tour.
Cartes' children's performance has received high praise from both theater critics like Clement Scott and audiences, including the children. Captain Corcoran's curse “Damme!” Was retained in the children's version, which shocked some visitors. Lewis Carroll later wrote: “A bevy of sweet, innocent looking girls sang with serene and happy eyes, 'He said damn it! He said damn it! ' in the choir. I can hardly describe to the reader the agony I felt seeing those dear children taught such words to please jaded ears ... How Mr. Gilbert could condescend to write such obnoxious trash, or Sir Arthur Sullivan was selling his noble art of setting such things to music. "
Further productions
After the success of the London work, Richard D'Oyly Carte immediately sent tour companies to the British provinces. Under Cartes supervision, Pinafore was performed annually by up to three D'Oyly Carte companies between 1878 and 1888, including the first revival in 1887. Thereafter, the work was temporarily suspended and turned from 1894 to 1900 and most of the time from From 1903 to 1940 he returned to the touring repertoire. Gilbert directed all re-performances until his death. Thereafter, the D'Oyly Carte Opera Company retained the exclusive performance rights to the Savoy Operas until 1962. All the while, she kept closely to Gilbert's written stage directions, and also required the licensees to follow them.
The operetta was re-performed in contemporary clothing until 1908. Then costume designers such as Percy Anderson, George Sheringham and Peter Goffin created Victorian costume designs. In the winter of 1940–1941, the D'Oyly Carte Company's sets and costumes for Pinafore and three other operettas were destroyed by German air raids. In the summer of 1947 the operetta was performed again in London. From then on she was on the D'Oyly Carte Company's seasonal programs until the company closed. On June 16, 1977, Pinafore was performed at Windsor Castle in front of Elizabeth II and the royal family; this was the first court special performance of a Gilbert and Sullivan operetta since 1891.
Until the expiry of the copyright protection period in 1961, the D'Oyly Carte Company did not allow any other professional opera companies to stage the Savoy Operas, but had granted licenses to numerous amateur and school theaters since the 19th century. After 1961, other companies performed the work in Great Britain. These included Tyrone Guthrie's production, which was first performed in Stratford, Ontario and on Broadway in 1960 and then repeated in London in 1962, as well as a production by the New Sadler's Wells Opera Company, which premiered on June 4, 1984 at Sadler's Wells Theater and the was also seen in New York. The Scottish Opera , Welsh National Opera and many other British opera companies performed the work, including the re-established D'Oyly Carte Company from 1990 until it was closed in 2003. Recent productions include those of the Carl Rosa Opera Company; the Opera della Luna and other companies continue to perform the work.
An eyewitness to Pinafore's extraordinary initial success in America was actor JC Williamson , who arranged with D'Oyly Carte the first authorized performance of the operetta in Australia. The premiere took place on November 15, 1879 at the Theater Royal in Sydney . At least until 1962, the work, together with other Savoy Operas, formed an integral part of the company's program. In the United States, the work never lost its popularity. The Internet Broadway Database lists forty productions on Broadway alone . Professional opera companies that continue to perform Pinafore regularly in the United States include Opera a la Carte in California, Ohio Light Opera, and New York Gilbert and Sullivan Players, who tour the operetta annually and often to their New York - Record York Seasons.
Since its premiere, HMS Pinafore has been one of Gilbert and Sullivan's most popular operettas, and hundreds of performances of the work take place around the world every year. In 2003 alone, the D'Oyly Carte Opera Company loaned 224 orchestral copies, mostly for performances of Pinafore, Pirates and Mikado. This number does not take into account other rental companies and theater companies that borrow their voices or own their own, or that only use one or two pianos instead of an orchestra.
The following table lists the D'Oyly Carte productions during Gilbert's lifetime (with the exception of tours):
| theatre | premiere | Last performance | Number of records | Remarks |
|---|---|---|---|---|
| Opera Comique | May 25, 1878 | December 24, 1878 | 571 | First season in London. The theater was closed from December 25, 1878 to January 31, 1879. |
| January 31, 1879 | February 20, 1880 | |||
| Fifth Avenue Theater, New York | December 1, 1879 | December 27, 1879 | 28 | Official American premiere in New York |
| Opera Comique | December 16, 1879 | March 20, 1880 | 78 | Children's version, only in the morning. This company went on a provincial tour from August 2 to December 11, 1880. |
| Opera Comique | December 22, 1880 | January 28, 1881 | 28 | |
| Savoy Theater | November 12, 1887 | March 10, 1888 | 120 | First revival in London. |
| Savoy Theater | June 6, 1899 | November 25, 1899 | 174 | Second revival in London, together with Trial by Jury. |
| Savoy Theater | July 14, 1908 | March 27, 1909 | 61 | Second season of the Savoy repertoire. Played with five other operas; the last game day mentioned is that of the entire season. |
Historical occupations
The following tables list the main contributors to the major productions of the D'Oyly Carte Opera Company up until the company's closure in 1982.
| role | Opera Comique 1878 |
New York 1879 |
Savoy Theater 1887 |
Savoy Theater 1899 |
Savoy Theater 1908 |
|---|---|---|---|---|---|
| Sir Joseph | George Grossmith | JH Ryley | George Grossmith | Walter Passmore | Charles H. Workman |
| Captain Corcoran | Rutland Barrington | Sgr. Brocolini | Rutland Barrington | Henry Lytton | Rutland Barrington |
| Ralph Rackstraw | George Power | Hugh Talbot | JG Robertson | Robert Evett | Henry Herbert |
| Dick Deadeye | Richard Temple | J. Furneaux Cook | Richard Temple | Richard Temple | Henry Lytton |
| Boatswain's mate / Bill Bobstay |
Fred Clifton | Fred Clifton | Richard Cummings | WH Leon | Leicester Tunks |
| Carpenter's Mate / Bob Beckett |
Mr. Dymott | Mr. Cuthbert | Rudolph Lewis | Powis Pinder | Fred Hewett |
| Josephine | Emma Howson | Blanche Roosevelt | Geraldine Ulmar | Ruth Vincent | Elsie Spain |
| Lift | Jessie Bond | Jessie Bond | Jessie Bond | Emmie Owen | Jessie Rose |
| Buttercup | Harriett Everard | Alice Barnett | Rosina Brandram | Rosina Brandram | Louie René |
| role | D'Oyly Carte Tour 1915 |
D'Oyly Carte Tour 1925 |
D'Oyly Carte Tour 1935 |
D'Oyly Carte Tour 1950 |
|---|---|---|---|---|
| Sir Joseph | Henry Lytton | Henry Lytton | Martyn Green | Martyn Green |
| Captain Corcoran | Leicester Tunks | Leo Sheffield | Leslie Rands | Richard Watson |
| Ralph Rackstraw | Walter Glynne | Charles Goulding | John Dean | Herbert Newby |
| Dick Deadeye | Leo Sheffield | Darrell Fancourt | Darrell Fancourt | Darrell Fancourt |
| Boatswain's mate | Frederick Hobbs | Henry Millidge | Richard Walker | Stanley Youngman |
| Carpenter's mate | George Sinclair | Patrick Colbert | L. Radley Flynn | L. Radley Flynn |
| Josephine | Phyllis Smith | Elsie Griffin | Ann Drummond-Grant | Muriel Harding |
| Lift | Nellie Briercliffe | Aileen Davies | Marjorie Eyre | Joan Gillingham |
| Buttercup | Bertha Lewis | Bertha Lewis | Dorothy Gill | Ella Halman |
| role | D'Oyly Carte Tour 1958 |
D'Oyly Carte Tour 1965 |
D'Oyly Carte Tour 1975 |
D'Oyly Carte Tour 1982 |
|---|---|---|---|---|
| Sir Joseph | Peter Pratt | John Reed | John Reed | James Conroy-Ward |
| Captain Corcoran | Jeffrey Skitch | Alan Styler | Michael Rayner | Clive Harre |
| Ralph Rackstraw | Thomas Round | David Palmer | Meston Reid | Meston Reid |
| Dick Deadeye | Donald Adams | Donald Adams | John Ayldon | John Ayldon |
| Boatswain's mate | George Cook | George Cook | Jon Ellison | Michael Buchan |
| Carpenter's mate | Jack Habbick | Anthony Raffell | John Broad | Michael Lessiter |
| Josephine | Jean Hindmarsh | Ann Hood | Pamela Field | Vivian Tierney |
| Lift | Joyce Wright | Pauline Wales | Patricia Leonard | Roberta Morrell |
| Buttercup | Ann Drummond-Grant | Christene Palmer | Lyndsie Holland | Patricia Leonard |
reception
Contemporary criticism
The early reviews of the work were mostly positive. The then leading theater magazine The Era wrote:
"Seldom have we been in the company of a happier audience ... [Gilbert and Sullivan] had produced such real amusement on previous occasions, such new forms of prank, so original wit and unexpected whims that nothing was more natural than an evening full of pleasure for the audience expected. This expectation was completely fulfilled. Those who had believed in Mr. Gilbert's ability to stimulate the imagination through curious allusions and unexpected forms of humor were more than satisfied, and those who appreciated Mr. Arthur Sullivan's inexhaustible melodic talent were equally satisfied, while a large group was delighted by theatergoers who delight in brilliant clothing and lovely stage effects. So the result was 'a success, a noticeable success' ... there were some small flaws like the severe cold that Mr. Rutland Barrington [Captain Corcoran] suffered from that almost prevented him from singing. "
The Era particularly praised Emma Howson as Josephine. The Entr'acte and Limelight noted that the operetta was reminiscent of Trial by Jury and Sorcerer , but found it entertaining and called the music “very appealing. To imitate the so-called great opera with banal words is a funny idea. ”The paper also praised Grossmith as Sir Joseph and noted with amusement that he was made up from the portraits of Horatio Nelson ,“ and his good opening song ”appears on WH Smith to aim. The paper further noted that "He Is an Englishman" was "an excellent satire on the notion that a man must necessarily be righteous to be English". Overall, it found the performance to be good and predicted a long playing time for the piece.
Also, The Illustrated London News concluded that the production was a success and that the action, though trivial, as a good medium for Gilbert's "biting humor and droll satire" serve. The paper found that "much of the occasional satirical attack provoked heartfelt laughter ... Dr. Sullivan's music is as lively as the lyrics it was written for, with a touch of sentimental expression here and there… The piece is well played throughout. ”The UK Daily News, The Globe, The Times - which especially Grossmith, Barrington and Everald praised - and The Standard agreed, with the latter being particularly pleased with the performance of the choir, which "really adds to the reality of the illusion". The Times , according to the work represented an early attempt to build a "national music stage", the libretto was free of daring French "improprieties" and that did without the "help" of Italian and German musical heroes.
The Daily Telegraph and the Athenaeum received the operetta with muted applause. The Musical Times complained that Gilbert and Sullivan's continued collaboration was "detrimental to both artistic development" because, while popular with audiences, "something higher is expected for what is called 'comic opera'". The magazine commented that Sullivan "is gifted with the real punch of an artist who would thrive if only a carefully crafted libretto was presented to compose". However, the paper came to the conclusion that it had taken a liking to the operetta: “Now that we have conscientiously carried out our duty as art critic, we immediately go on to say that HMS Pinafore is an amusing piece of extravaganzathat goes up to End happily being propelled by the music. ” The Times and several other newspapers concurred with the view that Sullivan was capable of higher art. Only The Figaro was completely averse to the work. After the release of a piano reduction, a review in The Academy followed the general regret that Sullivan had fallen so deeplyinto writingmusic for Pinafore and hoped that he would devote himself to projects "more worthy of his great skill". Such criticism accompanied Sullivan until the end of his career.
The many unauthorized American productions in the years 1878–1879 varied in quality, and many were arrangements. One of the more faithful productions was that of the Boston Ideal Opera Company. The company hired well-known concert singers and premiered on April 14, 1879 at the Boston Theater, which could seat 3,000 people. The critics agreed that the opera society had achieved its goal of offering an "ideal" performance. The Boston Journal reported that the audience "fell in love with the entertainment to the point of absolute applause". The magazine noted that it would be a mistake to view pinafore as burlesque because “while irresistibly comical, the piece is not bouffe and needs to be handled with great care, otherwise its balanced proportions and subtle character would be damaged of humor would be lost ”. The newspaper described the operetta as "classic" in its elaboration and wrote that its "most outstanding satire" was "to imitate the absurdities [of great opera]". The opera company became one of the most successful touring companies in the United States. The first children's performance in Boston caused a sensation with both children and adults, and the season was extended until the summer of 1879. The Boston Herald wrote that "the large audience of children and their parents was somewhat beside themselves ... one could hear shrieking laughter over and over again."
Later evaluation
When Pinafore was first repeated in London in 1887, the piece was already considered a classic. The Illustrated London News noted that while there was no new dialogue, jokes or songs added to the operetta, it felt that it was best because the audience [would have missed the time-honored jokes like 'Hardly Ever'. The Savoy is once again having a brilliant success. ” The Theater agreed, noting that because the operetta“ has been heard in almost every inhabited part of the world and has been received with pleasure everywhere, there is little need to be too long ”. The magazine called the rerun an "eminently brilliant success" and expected another season.
A production by HMS Pinafore in the original language was performed at the Kroll Opera in Berlin in 1887 by a touring company of the D'Oyly Carte Company. The Neue Berliner Musikzeitung rated the performance as follows:
“[The work] was warmly received by the crowded hall, but in no way does it reach the popular 'Mikado'. The textbook offers a poor plot, the course of which can be guessed after a few scenes. Sullivan's music is dexterous, appealing and ambiguous throughout, but shows little invention; certain rhythms that we can remember from 'Mikado' and 'Patience' also recur here. Nevertheless, the audience liked quite a few pieces [...] and had to be repeated. The performance [...] was excellently prepared and lively. "
In a review of the 1899 London revival, The Athenaeum praised the work but agreed to criticize Sullivan. On the one hand, “ Pinafore … sounds as fresh as never before. The music world has gotten serious - very serious - and it is indeed refreshing to hear a happy, fun piece and unpretentious music ... it is carefully crafted and shows excellence in many ways ”. The magazine, on the other hand, wrote that if Sullivan had composed more serious music in the style of his symphony , “he would have produced even higher quality results; in the same way, one wonders at Pinafore what the composer would have achieved with a similarly designed libretto, but one that would have left him more room to realize his talent. "
In 1911 Henry L. Mencken wrote : “No other comic opera that has ever been written - probably no other stage play of any kind - has been so popular ... Pinafore ... has been performed with success wherever there are opera houses - from Moscow to Buenos Aires, from Cape Town to Shanghai, Madrid, Ottawa and Melbourne, even Paris, Rome, Vienna and Berlin. ”After the deaths of Gilbert and Sullivan, the D'Oyly Carte Opera Company retained exclusive performance rights in Great Britain until 1962. Most of the year she organized tours, and from 1919 she often ran a four-month season in London. The Times gave the 1920 London production a brilliant review, saying that the audience was "blown away" and regretting that Pinafore only played for two weeks. The newspaper praised the cast and the "magnificent" choir. She concluded by saying that the operetta was "an exuberant highlight of the season". Two years later, the paper published an even more enthusiastic account of the season's performances, calling Derek Oldham an "ideal hero" as Ralph, noting that Sydney Granville's song "received somewhat tumultuous acclaim" and that Darrell Fancourt as Deadeye " an admirably enduring piece of caricature ”. The production of the opera company in 1961 was rated similarly positive.
In 1879, JC Williamson obtained exclusive performance rights for Pinafore in Australia and New Zealand. His first production won acclaim from audiences and critics. Williamson played Sir Joseph and his wife, Maggie Moore , Josephine. The Sydney Morning Herald praised the performance and the cast and called the production, although "bursting with fun", dignified and precise. Many numbers were played as encores, and the "huge audience ... gave plenty of laughter and applause". Williamson's company continued to successfully perform pinafore in Australia and New Zealand as well as touring into the 1960s .
In the United States, where performing rights never applied, pinafore continued to be performed by both professional opera companies and lay people. In a 1914 review, The New York Times described a large-scale production at the 6,000-seat New York Hippodrome as "royal entertainment." The operetta had been transformed into a "mammoth spectacle" to which a hundred-member choir belonged. The well-known artificial water basin was converted into a realistic harbor, from which Buttercup rowed a boat to the three-masted pinafore , and Dick Deadeye was later actually thrown overboard with a loud splash. The Times praised the intimate singing, but found that some subtlety would be lost if the dialogue had to be "almost screamed". The performance deviated from the original in some respects, such as music from other works by Sullivan. The paper concluded that "the light satire of Pinafore is so entertaining because it is universal". The paper also called Winthrop Ames ' popular Broadway operetta productions in the 1920s and 1930s "spectacular". Modern productions in the United States generally continue to be well received. Regarding the 2008 season of the New York Gilbert and Sullivan Players in the New York City Center , the New York Times wrote: “The issues Gilbert raised - class differences, overbearing nationalism, and incompetent government - remain relevant, absurd as they are presented. But the lingering appeal of Pinafore and [the other Savoy Operas] has more to do with their unmatched linguistic genius and Sullivan's plentiful supply of addicting melodies ”.
Recordings
Since 1907 there have been recordings of the music from Pinafore ; Ian Bradley counted 17 CD recordings of the operetta in 2005 . The 1930 recording is remarkable in that it features the stars of the D'Oyly Carte Opera Company. The D'Oyly-Carte recording from 1960, which contains the entire dialogue, received frequent praise. The 1994 recording under the direction of Charles Mackerras , in which well-known opera singers cast the leading roles, was found musically outstanding. A more recent D'Oyly Carte recording of the operetta including dialogue from 2000 is the first to contain the long-lost ballad “Reflect, my child” for Captain Corcoran. A Danish recording from 1957 is one of the few professional recordings by Gilbert and Sullivan in a foreign language.
In 1939, Pinafore was broadcast by the National Broadcasting Company as one of the first operas on American television, but no recording of the broadcast is known. A 1973 video of a performance by the D'Oyly Carte Opera Company is one of three video recordings the Company made of its productions. The 1982 video from the Brent Walker Productions series by Gilbert and Sullivan is considered one of the worst of the series in reviews. The International Gilbert and Sullivan Festival has several video recordings of their performances.
Selection of recordings:
- 1922 D'Oyly Carte - Directed by Harry Norris and GW Byng
- 1930 D'Oyly Carte - London Symphony Orchestra; Conductor: Malcolm Sargent
- 1949 D'Oyly Carte - director: Isidore Godfrey
- 1958 Sargent / Glyndebourne - Pro Arte Orchestra, Glyndebourne Festival Chorus; Direction: Sir Malcolm Sargent
- 1960 D'Oyly Carte (with dialogue) - New Symphony Orchestra of London; Direction: Isidore Godfrey
- 1972 G&S for All - G&S Festival Chorus & Orchestra; Head: Peter Murray
- 1973 D'Oyly Carte (video) - Director: Royston Nash
- 1981 Stratford Festival (video) - Direction: Berthold Carrière; Director: Leon Major
- 1987 New Sadler's Wells Opera - Direction: Simon Phipps
- 1994 Mackerras / Telarc - Orchestra and Chorus of the Welsh National Opera; Direction: Sir Charles Mackerras
- 1997 Essgee Entertainment (video; editing) - director: Kevin Hocking
- 2000 D'Oyly Carte (with dialogue) - director: John Owen Edwards
Translations
The first German-language productions of HMS Pinafore were organized by German immigrants in the United States; In 1879, for example, the Germania Theater Company of Philadelphia performed Her Majesty's Ship Pinafore, or, The Sailor's Bride . A production in Pennsylvania Dutch , performed in several towns in eastern Pennsylvania in 1882 and 1883, and resumed in 1901 and 1910, had great success . The textbooks published in 1882 and 1901 suggest that the charm of this version lay in the humorous mix of dialect language and English. Such a "polyglot" arrangement was possible because the audience already knew the English version.
Although the Savoy Operas had more success in Germany than in any other non-English speaking country, HMS Pinafore was rarely performed compared to The Mikado . An arrangement of Pinafore for the German stage by Ernst Dohm was performed in 1882 at the Friedrich-Wilhelmstädtisches Theater in Berlin under the title Amor am Bord . As reported by contemporary sources, the performance failed “because of the difficulty of performing something like political caricature on the stage in Germany”. The unlicensed translation was published as a score by the Henry Litolff publishing house a year later . It is the first published score of a Gilbert and Sullivan operetta.
The organizer of the D'Oyly Carte tours in Germany, Dr. C. Carlotta (Siegfried Ehrenberg), published a translation of the work "as true to the original" as possible under the title IMS Pinafore, or, The Maid Who Loved a Sailor. In 1948 Bertolt Brecht encouraged the young playwright Gerd Salmen to practice translating the work into German. Salmen declined, but later made his own copy of the work under the title HMS "Pinafore" or The Love of the Captain's Daughter . Further German libretti were written by Charles Lewinsky and Stefan Troßbach.
The Danish translation of the work proved to be very successful, being performed more than 100 times in front of “full seats” in Copenhagen in the 1950s.
The following table lists previous professional performances by HMS Pinafore in Germany.
| date | title | translator | Performance location |
|---|---|---|---|
| 1882 | Cupid on board | Ernst Dohm | Berlin, Friedrich-Wilhelmstädtisches Theater |
| Nov 26, 1887 | HMS Pinafore | Original language performance by the D'Oyly Carte Company | Berlin, Kroll Opera |
| Jan. 28, 1888 | HMS Pinafore | Original language performance by the D'Oyly Carte Company | Hamburg, Thalia Theater (?) |
| May 26, 1974 | Sailor love | Charles Lewinsky | Kassel State Theater |
| around 1983 | HMS Knitterbüx or The Sailor's Bride | Stefan Troßbach | Hamburg, Ascot Music Theater |
| 1-5 Jan. 2004 | HMS Pinafore | - | Theater Regensburg (concert performance) |
Influence and processing
Pinafore had the greatest influence on the development of the musical. According to theater historian John Kenrick, Pinafore “became an international sensation reshaping commercial theater in England and the United States.” Music researcher Andrew Lamb believes that “the success of HMS Pinafore in 1879 brought British comic opera in the made the entire English-speaking world a constant alongside the French opéra bouffe ”. According to historian John Bush Jones, Pinafore and the other Savoy Operas prove that the musical "can deal with current social and political problems without reducing its entertainment value" and that they are the model for a new kind of musical theater work, the "integrated" musical in which "song, text and music are combined to form a closed whole". He adds that the "unmatched ... popularity created an American target audience for musicals, while the staging itself set an example in terms of design, content and even objectives for ... later musicals, especially socially relevant musicals." The work's popularity has also led to musical adaptations, musicals whose plot includes a performance of Pinafore , and others who parody the operetta or rearrange the music.
Adaptations
HMS Pinafore has been adapted many times. In 1909 WS Gilbert wrote a children's book, illustrated by Alice Woodward , entitled The Pinafore Picture Book, which tells the story of Pinafore and describes some connections that are not included in the libretto. Since then, other children's books have been published that retell Pinafore or use characters and events from the operetta.
An early Canadian adaptation of HMS Pinafore by William H. Fuller, entitled HMS Parliament , is based on Sullivan's music. The play, which mocked Canadian politicians at the time, premiered in 1878 and gained wide, if temporary, popularity. Pinafore's numerous musical adaptations include George Simon Kaufman's 1945 Broadway musical Hollywood Pinafore , which uses Sullivan's music. This musical was re-performed several times, including 1998 in London. Another Broadway adaptation from 1945, Don Walker's Memphis Bound !, featured Bill Robinson and an all-black cast. In 1940 the American Negro Light Opera Association delivered a production against a Caribbean backdrop called Tropical Pinafore.
A Yiddish arrangement of Pinafore called Der Shirtz was written by Miriam Walowit for the Hadassah group from Brooklyn in 1952 , and twelve of the songs were recorded on vinyl. In the 1970s, inspired by this recording, Al Grand asked the Gilbert and Sullivan Long Island Light Opera Company to perform these songs. He later translated the remaining numbers with Bob Tartell, and since then this adaptation has been performed under the name The Yiddisher Pinafore for more than two decades.
In 1997, Essgee Entertainment performed an edited version of Pinafore in Australia and New Zealand, which has been repeated several times since then. Another musical adaptation is Pinafore! (A Saucy, Sexy, Ship-Shape New Musical) by the American Mark Savage. It was performed with great success at the Celebration Theater in Los Angeles for nine months from 2001 onwards and was repeated in Chicago and New York in 2003. In this arrangement the cast contains only one woman; all other artists, with one exception, are homosexual. Numerous interpretations of the last few decades use a Star Wars - or Star Trek -like stage setting.
Further references
The songs from Pinafore have often been picked up as pastiche in literature, film, television series, and other media . One example is Allan Sherman's version of “When I Was a Lad” on his album My Son, the Celebrity, in which he tells of the rise of a student at an Ivy League university to a successful businessman. The song was also picked up by British MP Virginia Bottomley as a political satire against Tony Blair . Literary references to Pinafore found in Jerome K. Jerome's story Three Men in a Boat , tried in Harris, "When I Was a Lad" to sing. Another example is Isaac Asimov's short story Runaround from Ich, der Robot , in which a robot sings an excerpt from “I'm Called Little Buttercup”. In the episode "Am Kap der Angst" from the 5th season of the television series The Simpsons , Bart asks his opponent Tingeltangel-Bob to sing the entire operetta (in the German translation: "the hymn of the Pinafore"). In The West Wing , an argument about "He is an Englishman" runs through the entire episode, which takes its name from the song.
Over the past few decades, pinafore music has been used occasionally to add a contemporary feel to films. A prominent example is the historic sports film Die Hour des Sieger (1981), in which the protagonist Harold Abrahams and other students sing "He Is an Englishman". In the feature film Peter Pan (2003) a family sings “When I Was a Lad”. In the 1994 western movie Wyatt Earp , the sheriff meets his future wife when she plays in an early performance of Pinafore . The biopic The Story of Gilbert and Sullivan (1953) also uses music from Pinafore. The song "A British Tar" is sung in the Indiana Jones movie Raiders of the Lost Ark (1981) and in Star Trek: The Insurrection (1998). The thriller The Good Shepherd (2006) contains a scene with a university performance of Pinafore. In the thriller Die Hand an der Wiege (1992) several songs from the operetta are sung. In the youth drama The Last Song (1988), a school class performs Pinafore .
literature
- Michael Ainger: Gilbert and Sullivan - A Dual Biography. Oxford University Press, Oxford 2002, ISBN 0-19-514769-3
- Ian Bradley: Oh Joy! Oh Rapture !: The Enduring Phenomenon of Gilbert and Sullivan. Oxford University Press, New York 2005, ISBN 0-19-516700-7
- Andrew Crowther: Contradiction Contradicted - The Plays of WS Gilbert. Associated University Presses, Cranbury 2000, ISBN 0-8386-3839-2
- Arthur Jacobs: Arthur Sullivan - A Victorian Musician. Oxford University Press, Oxford 1986, ISBN 0-19-282033-8
- John Bush Jones: Our Musicals, Ourselves. Brandeis University Press, Hannover 2003, ISBN 0-87451-904-7
- Volker Klotz: Operetta: Portrait and Handbook of an Unheard of Art, pp. 703–712. Bärenreiter, Kassel 2004, ISBN 3-7618-1596-4
- Cyril Rollins, R. John Witts: The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875-1961. Michael Joseph, London 1962. In addition, five supplementary volumes self-published.
- Meinhard Saremba: Arthur Sullivan. A composer's life in Victorian England. Noetzel, Wilhelmshaven 1993, ISBN 3-7959-0640-7
- Jane W. Stedman: WS Gilbert, A Classic Victorian & His Theater. Oxford University Press, Oxford 1996, ISBN 0-19-816174-3
Web links
- HMS Pinafore in The Gilbert & Sullivan Archive
- HMS Pinafore in The Gilbert & Sullivan Discography
- Parodies and pastiches of pinafore songs
Remarks
- ↑ Ralph is pronounced ˈreɪf according to the traditional British pronunciation ; his name rhymes with “waif” in the song “A many years ago”.
- ↑ German authors occasionally use the term “comic opera”, see for example Saremba (1993), p. 2 f.
- ↑ Ainger (2002), p. 157
- ↑ Jacobs (1986), p. 113 f.
- ↑ Jacobs (1986), p. 111; Ainger (2002), p. 133 f.
- ↑ See Jacobs (1986), p. 113
- ↑ Ainger (2002), p. 145
- ^ A b c d Reginald Allen: The First Night Gilbert and Sullivan, introduction to the chapter on Pinafore. Chappell, London 1975, ISBN 0-903443-10-4 ; Stedman (1996), p. 161
- ↑ See Jacobs (1986), p. 114 f. Gilbert's political satire had already led to censorship; see. Stedman (1996), pp. 106-10
- ↑ Stedman (1996), p. 108
- ↑ Stedman (1996), pp. 129, 155
- ↑ Stedman (1996), p. 157 f .; Crowther (2000), p. 90; Ainger (2002), p. 154
- ↑ Crowther (2000), pp. 87-90
- ↑ Stedman (1996), p. 155
- ^ Jacobs (1986), p. 117
- ↑ Stedman (1996), p. 159; Jacobs (1986), pp. 117-18
- ↑ See Jacobs (1986), p. 114 f.
- ↑ Stedman (1996), p. 161
- ^ William Cox-Ife: WS Gilbert: Stage Director. Dobson, London 1978, ISBN 0-234-77206-9 . See also WS Gilbert: "A Stage Play" ( Memento of the original from December 13, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. and Jessie Bond: Reminiscences, Introduction ( Memento of the original from March 3, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Saremba (1993), p. 140
- ↑ a b Helga J. Perry: " Lost Pinafore Song Found ( Memento of the original from December 16, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ", The Gilbert and Sullivan Archive, April 15, 1999
- ↑ Bruce Miller: " Comments on the Lost Song Discovery ( Memento of the original from December 17, 2008 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. ", The Gilbert and Sullivan Archive, April 17, 1999
- ↑ a b Stan DeOrsey: " Gilbert & Sullivan: Of Ballads, Songs and Snatches (Lost or seldom recorded) ," A Gilbert and Sullivan Discography, 2003
- ↑ a b Percy M. Young (Ed.): HMS Pinafore, critical edition, 2 volumes. Broude Brothers, New York 2003, ISBN 0-8450-3003-5
- ↑ Marc Shepherd: " Hebe's Dialogue Introduction ( Memento of the original from March 3, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ", The Gilbert and Sullivan Archive
- ↑ a b See Jones (2003), p. 8.
- ^ "The Original Rackstraw," The Era, July 18, 1908, p. 15.
- ↑ Stedman (1996), p. 161; Andrew Crowther: "Hunchbacks, Misanthropes and Outsiders: Gilbert's Self-Image", Gilbert and Sullivan Boys and Girls (GASBAG) 206 (Winter 1998) ( Memento from December 17, 2003 in the Internet Archive )
- ↑ a b H. M. Walbrook: Gilbert & Sullivan Opera, A History and a Comment ( Memento of the original of May 12, 2008 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Chapter VFV White, London 1922
- ↑ Interview with Stuart Maunder, The Music Show, ABC Radio National, Australia, May 14, 2005. ( Memento December 6, 2008 in the Internet Archive ) Crowther comes to a similar conclusion; see. Andrew Crowther: The Land Where Contradictions Meet. WS Gilbert Society Journal, 2, 11 (Fall 2000): 330
- ^ Alan Fischler: Modified Rapture: comedy in WS Gilbert's Savoy operas, p. 91 f. University Press of Virginia, Charlottesville 1991, ISBN 0-8139-1334-9
- ↑ Saremba (1993), p. 133
- ^ Elwood P. Lawrence: The Happy Land: WS Gilbert as Political Satirist. Victorian Studies 15, 2 (Dec. 1971): 161–83, here p. 181, ISSN 0042-5222
- ↑ Stedman (1996), p. 160
- ↑ Stedman (1996), p. 162
- ↑ Jones (2003), p. 8
- ^ A b c Andrew Crowther: The Land Where Contradictions Meet. WS Gilbert Society Journal, 2, 11 (Fall 2000): 325-331
- ^ Jacobs (1986), p. 118
- ↑ a b Jacobs (1986), p. 119
- ↑ a b Klotz (2004), p. 706 ff.
- ^ Gervase Hughes: The Music of Arthur Sullivan, p. 53. St. Martin's Press, New York 1960
- ^ Gervase Hughes: The Music of Arthur Sullivan, p. 133
- ↑ See Amanda Holden (ed.): The Viking Opera Guide, p. 1060. Viking, London 1993, ISBN 0-670-81292-7
- ↑ See Stanley Sadie (Ed.): The New Grove Dictionary of Opera, Vol. 2, p. 727. Oxford University Press, New York 1992, ISBN 978-0-19-522186-2
- ↑ Saremba (1993), p. 130
- ↑ Saremba (1993), p. 131
- ↑ Klotz (2004), p. 710
- ↑ See, for example, Matthew Gurewitsch, “ There Will Always Be a Trovatore, ” The New York Times, December 24, 2000
- ↑ Meinhard Saremba: 'We sing as one individual'? Popular misconceptions of 'Gilbert and Sullivan'. In David Eden, Meinhard Saremba (ed.): The Cambridge Companion to Gilbert and Sullivan, pp. 50-66, here p. 60. Cambridge University Press, Cambridge 2009, ISBN 978-0-521-71659-8
- ^ A b c Ian Bradley: The Complete Annotated Gilbert and Sullivan, p. 116
- ↑ Ainger (2002), p. 160
- ^ Jacobs (1986), p. 122
- ↑ Saremba (1993), p. 134
- ↑ Ainger (2002), p. 162
- ↑ Jones (2003), p. 6
- ↑ Stedman (1996), pp. 170 f .; Ainger (2002), pp. 165 ff., 194 f.
- ↑ Arthur H. Lawrence: “ An illustrated interview with Sir Arthur Sullivan ( Memento of the original of December 13, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. ", Part 3, The Strand Magazine, Vol. Xiv, No. 84 (Dec. 1897). See also Ainger (2002), p. 166
- ↑ Stedman (1996), p. 165
- ↑ Stedman (1996), pp. 170 f .; Ainger (2002), p. 168 f.
- ↑ Ainger (2002), p. 169
- ^ Jacobs (1986), p. 126
- ↑ Rollins / Witts, p. 6
- ↑ Ainger (2002), p. 170
- ↑ Ainger (2002), p. 175
- ↑ Ainger (2002), p. 184
- ^ Don Gillan: " Longest Running Plays in London and New York ", StageBeauty.net (2007); Freda Gaye (Ed.): Who's Who in the Theater, p. 1530. Pitman, London 1967, ISBN 0-273-43345-8
- ↑ a b c d e f Harold Kanthor: HMS Pinafore and the Theater Season in Boston 1878–1879. Journal of Popular Culture 24, 4 (Spring 1991), p. 119, ISSN 0022-3840
- ↑ Saremba (1993), p. 138
- ↑ Ainger (2002), p. 168 f.
- ↑ a b Ainger (2002), p. 182 f.
- ^ Jacobs (1986), p. 127
- ↑ Stedman (1996), p. 174
- ↑ François Cellier, Cunningham Bridgeman: Gilbert and Sullivan and their Operas, chapter “ The making of HMS Pinafore ( Memento of the original from December 17, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. “Little, Brown and Company, Boston 1914
- ^ Rollins / Witts, p. 7
- ↑ Clement Scott: “ Our Play Box. The Children's Pinafore. “ The Theater, January 1 , 1880, new (third) row, 38 f.
- ↑ Lewis Carroll, "The Stage and the Spirit of Reverence," Theater magazine, June 1, 1888, reprinted in Stuart Dodgson Collingwood (Ed.): The Lewis Carroll Picture Book, pp. 175-95. T. Fisher Unwin, London 1899. See Jacobs (1986), p. 123
- ↑ Rollins / Witts, pp. 7-164
- ↑ Bradley (2005), p. 27
- ↑ Rollins / Witts, Appendix p. VII
- ↑ Rollins / Witts, pp. 165–186 and supplementary volumes
- ↑ Bradley (2005), Chapters 3 and 4
- ^ Ian Bradley: The Complete Annotated Gilbert and Sullivan, p. 117
- ^ Search the Internet Broadway Database on June 13, 2009
- ^ Ian Bradley: The Complete Annotated Gilbert and Sullivan, p. 117.Bradley (2005), Chapter 4, names numerous productions since 1962.
- ↑ According to Rollins / Witts and Gänzl (1986) cast lists at ten-year intervals are sufficient to indicate the majority of the actors in the official productions during this period. See Kurt Gänzl : The British Musical Theater - Volume I: 1865–1914. Oxford University Press, New York 1986, ISBN 0-19-520509-X . Data from Rollins / Witts and supplementary volumes.
- ^ "Opera Comique", The Era, June 2, 1878, Country Edition, 40 (2071): 5, Col. 1-2
- ↑ "London Theaters. Opera Comique ", The Entr'acte and Limelight: Theatrical and Musical Critic and Advertiser 466 (June 1, 1878), p. 12
- ^ "Opera Comique", The Illustrated London News 72 (2031), June 1, 1878, p. 515
- ^ The Times, May 27, 1878, p. 6
- ↑ Stedman (1996), p. 161; HM Walbrook: Gilbert & Sullivan Opera, A History and a Comment ( Memento of the original dated May 12, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Chapter VFV White, London 1922
- ^ "Opera-Comique", The Musical Times, 19 (424), June 1, 1878, p. 329
- ^ The Academy, July 13, 1878, new series, 14 (323), p. 49, col. 3
- ^ "The Playhouses", The Illustrated London News, November 19, 1887, 91 (2535), p. 580, col. 1
- ^ "Our Omnibus-Box", The Theater, new series, 10 (December 1, 1887), p. 337
- ↑ Neue Berliner Musikzeitung vol. 41 (1887), p. 396 f.
- ^ The Athenaeum, 3737 (June 10, 1899), pp. 730 f.
- ↑ HL Mencken: “ Pinafore at 33 ( Memento of the original from March 3, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. ", Baltimore Evening Sun, 1911
- ↑ "HMS Pinafore. Revival at Princes Theater, ” The Times, Jan 21, 1920, p. 10
- ↑ "HMS Pinafore. Sullivan Opera Season Nearing The End, " The Times, Jan. 3, 1922, p. 8
- ^ "Novelty and Tradition in Savoy Operettas," The Times, December 12, 1961, p. 5
- ↑ Sydney Morning Herald, November 17, 1879
- ^ "A New Approach to HMS Pinafore," The Times, March 9, 1960, p. 13
- ↑ “HMS Pinafore a la Hippodrome; They Sail the Ocean Tank and Their Saucy Ship's a Beauty, ” The New York Times, April 10, 1914, p. 13
- ↑ J. Brooks Atkinson: "G. & S., Incorporated, " The New York Times, April 25, 1926, p. X1
- ↑ Steve Smith, "All Hands on Deck for Absurd Relevance," The New York Times, June 9, 2008
- ↑ Bradley (2005), p. 16. See also Marc Shepherd: " Recordings of HMS Pinafore ", A Gilbert and Sullivan Discography, April 5, 2003
- ↑ Jonathan Buckley (Ed.): The Rough Guide to Classical Music, p. 367. Rough Guides, London 1994, ISBN 1-85828-113-X ; WA Chislett in The Gramophone, February 1960, p. 70; Ivan March (Ed.): The Great Records, p. 100 f. Long Playing Record Library, Blackpool 1967; Ivan March (Ed.): Penguin Guide to Recorded Classical Music, p. 1136. Penguin, London 2008, ISBN 0-14-103335-5
- ↑ Ivan March (Ed.): Penguin Guide to Recorded Classical Music, 2008
- ↑ Marc Shepherd, " The 1939 NBC Pinafore Broadcast, " A Gilbert and Sullivan Discography, November 12, 2001
- ↑ Marc Shepherd, " The Brent Walker Pinafore (1982), " A Gilbert and Sullivan Discography, November 12, 2001
- ^ John Koegel: Music in German Immigrant Theater: New York City 1840-1940, p. 113. University of Rochester Press, Rochester 2009, ISBN 1-58046-215-4
- ^ Harry Hess Reichard: Pennsylvania-German Dialect Writings and Their Writers , pp. 254-266. Press of the New Era Printing Company, Lancaster 1918
- ^ Alfred Charles Moss: HMS Pinafore, or, The Maedle and her Sailor Guy: n 'Translation fun the famous Opera in Pennsylfanish German. DJ Gallagher, Philadelphia 1882
- ^ John Koegel: Music in German Immigrant Theater: New York City 1840-1940, p. 114
- ↑ Jana Polianovskaia: 'See how the Fates Their gifts allot': the reception of productions and translations in continental Europe. In David Eden, Meinhard Saremba (ed.): The Cambridge Companion to Gilbert and Sullivan, pp. 216–228, here p. 217
- ↑ Heinz Knobloch: My captain Maßmann. Neue Deutsche Literatur 31, 1 (Jan. 1983): 106-110
- ↑ Kenneth Anderson: G. & S .: The Copyright Aspect. Library Review 22, 2 (1969): 62-66, ISSN 0024-2535
- ^ Carl Simpson, Ephraim Hammett Jones: HMS Pinafore in Full Score, p. Vi. Dover Publications, Mineola 2002, ISBN 0-486-42201-1
- ↑ Jana Polianovskaia: 'See how the Fates their gifts allot', p. 218 f.
- ↑ Gerd Salmen: Art Science, p. 8. Thalia, Brandenburg 2005, ISBN 3-00-015724-7
- ↑ Gerd Salmen: Art pieces, pp. 412–448. Thalia, Brandenburg 2004, ISBN 3-00-013815-3
- ^ Entry on the website of the Felix Bloch Erben publishing house
- ↑ Self-published. See Klotz (2004), p. 703
- ^ "HMS Pinafore Again Delights the Danes," The Times, October 16, 1959, p. 16
- ↑ Data from Jana Polianovskaia: 'See how the Fates their gifts allot', pp. 221, 223 f.
- ^ John Kenrick, " Gilbert & Sullivan 101: The G&S Canon ", The Cyber Encyclopedia of Musical Theater, TV and Film. See also Kurt Gänzl: Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from HMS Pinafore to Sunset Boulevard. Schirmer, London 1995, ISBN 0-02-870832-6
- ↑ Andrew Lamb: From Pinafore to Porter: United States - United Kingdom Interactions in Musical Theater, 1879-1929, p. 35. American Music 4, 1 (Spring 1986): 34-49, ISSN 0734-4392
- ↑ Jones (2003), p. 10 f.
- ↑ Jones (2003), p. 4 f.
- ↑ WS Gilbert: The Pinafore Picture Book ( Memento of the original from February 27, 2010 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . George Bell and Sons, London 1908. See Stedman (1996), p. 331
- ↑ Dillard names five. See Philip H. Dillard: How Quaint the Ways of Paradox !, pp. 103 ff. The Scarecrow Press, Metuchen 1991, ISBN 0-8108-2445-0
- ^ "HMS Parliament" ( English, French ) In: Encyclopedia of Music in Canada . published by The Canadian Encyclopedia . December 15, 2013.
- ^ Bradley (2005), p. 172
- ↑ Bradley (2005), Chapter 4
- ↑ Bradley (2005), p. 170 f.
- ↑ Bradley (2005), Chapter 8
- ^ " The West Wing episode summary - And It's Surely to Their Credit"
