Solitaire or Bunthornes bride
Patience or Bunthornes Bride is an aesthetic comic opera ("Aesthetic Comic Opera") in two acts by William Schwenck Gilbert , music by Arthur Sullivan .
The opera, premiered on April 23, 1881 at the Opera Comique in London, satirizes the aesthetic movement in general and its affected followers by adding striking features of the real poets Algernon Charles Swinburne , Dante Gabriel Rossetti , Oscar to the characters of the rival poets Bunthorne and Grosvenor Wilde and James McNeill combined. The piece simultaneously mocks male vanity and chauvinism in the army. While Patience was running, producer Richard D'Oyly Carte built the new, modern Savoy Theater as a special venue for the operettas by Gilbert and Sullivan , which is why they are often referred to as "Savoy Operas". It was the first theater and at the same time the first public building in the world to be completely electrically lit.
Emergence
Patience gave the librettist Gilbert more trouble than almost all of his other operas. He based his operetta on The Rival Curates from The Bab Ballads , a work that had already served as inspiration for the earlier operetta The Sorcerer . In the first draft, Reginald Bunthorne, the aesthetic poet, and Archibald Grosvenor, the idyllic poet, were not poets at all, but clergymen in neighboring communities. Gilbert, however, found frivolous treatment of the clergy to be too controversial in Victorian England. Restrained from the need to protect himself against a possible punishment for disrespect, he decided to turn his joke away from the church and turn to the aesthetic movement that may be. a. was associated with Oscar Wilde and had long before been ridiculed by du Maurier in Punch . The stanza "A pallid and thin young man, A haggard and lank young man, A greenery-yallery, Grosvenor Gallery (famous as the home of the aestheticism movement), Foot-in-the-grave young man!" Explains the essence of Patience resulting from an angry rethinking, which delayed the premiere at the Opera Comique until April 23, 1881. “Greenery-yallery” is best illustrated by a picture: Aesthetic Teapot Male
The Sporting Times reports that Oscar Wilde himself was in the premiere audience. Also present was his brother, William Wilde. The main roles were to see: George Grossmith as Bunthorne, Rutland Barrington as Grosvenor, Leonora Braham as Solitaire, and Jessie Bond and Alice Barnett among the "enthusiastic virgins". It must be remembered that Oscar Wilde was just 25 years old in 1881 and had not yet published any of his famous books or plays; its notoriety was only local. His homosexuality was also unknown as the infamous trial didn't take place until a decade later. Still, he was a prominent esthete who had drawn attention to himself through his poses and utterances in London salons. As a prominent representative of the aestheticism movement, D'Oyly Carte hired Wilde for a reading tour through the USA in order to familiarize the American audience with the real models and the eccentricity of the aesthetes. When entering the USA, one of Wilde's most famous sentences was uttered at customs: "I have nothing to declare except my genius." The original production by Patience , literally the first of the Savoy operas, ran for 578 performances in London. The Broadway production was also successful. (Sept. 22, 1881, Original Standard Theater, New York, number of performances unknown.)
content
first act
A group of lovesick virgins are all in love with the aesthetic poet Bunthorne. In front of Bunthornes Castle they sing the choir: “Twenty love-sick maidens we”. Lady Jane, the oldest and most influential of the ladies, informs them that Bunthorne has lost his heart to the simple milkmaid Patience. Patience steps in and confesses that she has never loved anyone and is grateful that she did not make love unhappy (“I cannot tell what this love may be”). The maidens' former fiancés appear, the Dragoons, led by Colonel Calverly, who performs a tongue-splitting song about the qualities of a heavy Dragoons. However, attention is disturbed by Bunthorne's appearance, who is writing a poem, followed by a procession of lovesick women. The Dragoons are wild with jealousy, while Bunthorne takes delight in the admiration of women. When he has finished the poem, without understanding the protests of the dragoons, he reads it to the delighted ladies. The Colonel reminds them of their promise, but the girls, led by Lady Jane, only criticize the British uniformed men. They no longer want macho men as partners, but empathetic poets like Bunthorne. As they resign, the Colonel ponders the severity of this rejection and insult. The dragoons step down and Bunthorne comes back. In a monologue, he reveals that it is nothing more than an aesthetic farce. Patience enters and Bunthorn confesses his love for her and the fact that he doesn't like poetry. Still reciting out of habit, he moves away. Lady Angela comes and teaches Patience about the nature of true love. Confused, Patience thinks love is a duty and immediately decides to do something about it. Grosvenor presents himself to her, and both court each other in a duet. Patience doesn't want to recognize him as her childhood sweetheart. Archibald tells her that he still loves her, but adds that all women find him irresistible because of his beauty. He declares that he is also a poet, an “apostle of simplicity”, order personified, the infallible. Patience realizes sadly that no one who is as perfect as Archibald can love her, because it would be a pleasure and not a detrimental fulfillment of duty. They move away, both in opposite directions. Bunthorne comes back with the ladies' choir: "Fickle Fortune will decide who shall be our Bunthorne's Bride" ("Unstable fate will decide who will be Bunthorne's bride"). Heartbroken, because he can't have solitaire, he suggests that we be raffled for charity. When the dragoons insist on the girls' marriage promises, Bunthorne advises them to purchase lots. Enter LADY JANE and the girls blindfold. Bunthorne urges Jane to draw the first lot, but Patience pushes forward and asks Bunthorne's forgiveness and agrees to be his bride - because loving him would be a duty, not a pleasure. They hug and the girls hug the officers. Archibald, buried his head in a book, explains that it has become aesthetic, which is why all the ladies declare their love for him.
Second act
Lady Jane accompanies herself on the cello and complains about Bunthorne's inappropriate affection for Patience. She believes that she will soon get tired of multicolored horns and hopes that it won't be too long as your "jet black hair will soon turn silver". Archibald, pursued by the girls, reveals that he is tired of worship. He accepts that everyone loves him but that he cannot return love because his heart is somewhere. The girls say goodbye discouraged. Patience approaches Archibald, eager for his assurance of love for her (Bunthorne, she confesses, loves her only out of a sense of duty). Full of tears, Patience tells Bunthorne that Archibald is the noblest, purest and most perfect being, so it is her duty not to love him. Alone again, she recalls the time when she did not know what love was. Bunthorne and Jane return and he laments the days when he was the center of attraction, before Archibald's aesthetic transformation. He vows to beat him with his own rules of the game, and Jane assures him support. The three officers appear, without uniform, in aesthetic clothing. They plan to outsmart their rivals. Despite their bravery, they lack confidence, but they feel more secure again when Angela and Saphir are impressed by their aesthetic appearance. Archibald confesses to Bunthorne that he has had enough of glorifying the ladies and agrees to change his appearance and demeanor. Bunthorne is very happy when Patience comes in. He informs Patience about Archibald's true likeness. Patience is pleased at first, then disillusioned - she cannot love him if he is also such a perfect being. Archibald is just dancing in with the entourage of girls and dragoons. Its appearance is now banal, no longer aesthetic. At first Patience is puzzled by the transformation, but then delighted when he promises to be an ordinary young man forever. Bunthorne acknowledges his defeat, but Lady Jane claims him on the spot and they embrace. Enter the three officers and the Duke chooses Lady Jane as his bride, in a spirit of fairness for her very poor attractiveness. What remains is Bunthorne, a bridal esthete, content with a tulip or lily. Nobody is Bunthorne's bride. ("Each of us will wed the other, Nobody be Bunthorne's Bride!")
The performances of Patience
| theatre | premiere | last performance | Performances | Remarks |
|---|---|---|---|---|
| Opera Comique | April 23, 1881 | October 8, 1881 | 170 | |
| Savoy Theater | October 10, 1881 | November 22, 1882 | 408 | |
| Standard Theater, New York | September 22, 1881 | March 23, 1882 | 177 | Authorized US production |
| Savoy Theater | November 7, 1900 | April 20, 1901 | 150 | First London resumption |
| Savoy Theater | April 4, 1907 | August 24, 1907 | 51 | First Savoy repertoire season; with three other operas. Until the end of the entire season. |
JC Williamson brought the production to Australia and the USA (Theater Royal, Sydney, December 19, 1881; USA: Uhrigs Cave, St. Louis July 28, 1881, Standard Theater New York September 22, 1882). Carte began its official production of Patience on Broadway nine months after its premiere in London, although the aestheticism movement had not reached America. The D'Oyly Carte Opera Company brought Patience to Germany (Krolls Theater Sanfthilde (Eng.) April 30, 1887) and Austria (10 performances in the Carltheater, beginning May 28, 1887).
In Hungary, Budapest, NepSzinhaz (the now destroyed folk theater), November 5, 1887, there was a translated version, in Spain a dialect version.
After Gilbert and Sullivan's copyright expired, Patience became the last production to also be performed in New York's Metropolitan Opera House at London's English National Opera, Sadler's Wells Theater in 1969, and again at the Coliseum in 1984.
Sasha Regan's “all-male” production of Patience was played in 2012 in London.
Sound recordings
- 1930 D'Oyly Carte - Conductor: Malcolm Sargent
- 1951 D'Oyly Carte - Conductor: Isidore Godfrey
- 1961 D'Oyly Carte (with dialogues) - New Symphony Orchestra of London; Conductor: Isidore Godfrey
- 1962 Sargent / Glyndebourne - Pro Arte Orchestra, Glyndebourne Festival Chorus; Conductor: Sir Malcolm Sargent
- 1982 Brent Walker Productions (video) - Ambrosian Opera Chorus, London Symphony Orchestra; Conductor: Alexander Faris; Director: JOHN COX
- 1994 New D'Oyly Carte - Conductor: John Owen Edwards
- 1995 Australian Opera (video) - Conductor: David Stanhope; Director: JOHN COX
Pictures of the venues in Europe
- Carltheater Vienna
- Savoy Theater London
- Kroll Opera House Berlin
- Nepszinhaz Budapest
Performance and reception in Vienna
The premiere in Vienna took place on May 28, 1887 in the Carltheater. The Neue Freie Presse reported on it: “The English operetta troupe, which so far managed to exert such a strong attraction on our audiences, can no longer simply be called the 'Mikado Society', as they are today with a new work by Messrs. Gilbert and Sullivan went public ”. The critic also writes that Patience is in no way inferior to Mikado's success . “A burlesque that strangely touches you in humor, in the travested object, even in verse. […] A brief statement that was distributed in the theater seeks to inform the audience about these excesses [of aesthetomania] in the social life of England; but it does not succeed in spreading clarity about the matter [...] ”. Dr. Carlotta (the translator) tried to get over the difficulties of translating it into German without depriving the piece of its local color too much. The composer Mr. Sullivan has proven to be "the most sensitive and tasteful musician". “Of the numerous beautiful solo ensemble pieces […] we only highlight a duet between Patience and Grosvenor […] and a very funny trio […], which […] would have liked in general even if the Claque had not been present so annoyingly felt. [...] and our stages should take the incomparable interplay of the English artists as an example. "
Translation, transmission, explanation
As already mentioned, D'Oyly Carte had commissioned Oscar Wilde to familiarize the American public with the eccentricity of the aesthetes. Although the same language was spoken in the USA, the British Aestheticism Movement was not known there. It seems all the more difficult to translate the work into other languages or even to bring it closer to completely different cultural and social circles. Let me pick just one example, namely the Patter song by Colonel Calverly and the Dragoons Choir. The original text by Gilbert in the left column, then the translation into German by Rudolph Schanzer 1904 in the right column. (Rudolph Schanzer worked, among other things, for the “Berliner Zeitung am Mittag” and wrote mainly operetta libretti. What he did the broadcast of Patience for is nowhere to be found).
| Song of the Colonel | Colonel |
|---|---|
| “If you want a receipt for that popular mystery, | "Do you want proof, a deeply metaphorical, |
| Known to the world as a Heavy Dragoon, | how the heavy dragoons once came into being, |
| Chorus Yes, yes, yes, yes, yes, yes, yes! | |
| Take all the remarkable people in history, | Then take the celebrities, all the historical ones. |
| Rattle them off to a popular tune. | Shake them together in a pot |
| The pluck of Lord Nelson on board of the Victory- | Take Caesar and Cicero, Solon, Timoleon |
| Genius of Bismarck devising a plan - | Cleverness and bravery and energy, |
| The humor of Fielding (which sounds contradictory) - | the martial arts of Wallenstein or Napoleon |
| Coolness of Paget about to trepan - | Bismarck's genius in diplomacy. |
| The science of Jullien, the eminent musico - | And take Tegetthoff, without which one with Lissa would have |
| Wit of Macaulay, who wrote of Queen Anne - | Austria sure lost the battle, |
| The pathos of Paddy, as rendered by Boucicault - | the joke of Mark Twain and the grace of the Saharet |
| Style of the Bishop of Sodor and Man - | of Caracalla the pomp and splendor |
| The dash of a D'Orsay, divested of quackery - | Take Plato and Zeno, the wise men of Greece, |
| Narrative powers of Dickens and Thackeray - | Moltke and Blücher, the heroes of Prussia |
| Victor Emmanuel - Peak-Haunting Peveril - | Romeo too, the tenderly charming one |
| Thomas Aquinas, and Doctor Sachverell - | And Johann Strauss, the sweet musician |
| Tupper and Tennyson - Daniel Defoe - | Shakespeare and Goethe and Jean Jacques Rousseau, |
| Anthony Trollope and Mister Guizot! Ah! | Dumas the son and the widow cliquot! |
| Take of these elements all that is fusible, | Now stir the elements together well, |
| Melt them all down in a pipkin or crucible, | all the geniuses and the great talents all |
| Set them to simmer, and take off the scum, | then this mixture distills exactly. |
| And a Heavy Dragoon is the residuum! | And a heavy dragoon - that's the extract! |
| If you want a receipt for this soldier-like paragon, | And what else in the world still exists of praise, |
| Get at the wealth of the Czar (if you can) - | take it and pour it into the pot too, |
| The family pride of a Spaniard from Aragon - | what else is special and very peculiar, |
| Force of Mephisto pronouncing a ban - | be it on the heart or hand or head. |
| A smack of Lord Waterford, reckless and rollicky - | Like Faust, who is so deep and thoughtful |
| Swagger of Roderick, heading his clan - | Iago, even if he's a miserable guy |
| The keen penetration of Paddington Pollaky - | the maiden of Orleans, saving the Frankish empire, |
| Grace of an Odalisque on a divan - | Philip the beautiful, and August the Scherl! |
| The genius strategic of Caesar or Hannibal - | Then Begas and Eberlein, Hauptmann and Sudermann |
| Skill of Sir Garnet in thrashing a cannibal - | Wagner and Offenbach, Leichner, the powder man |
| Flavor of Hamlet - the Stranger, a touch of him - | Vecsey the little one, with all his ability |
| Little of Manfred (but not very much of him) - | Sarah Bernhard also with all her tenacity, |
| Beadle of Burlington - Richardson's show - | furthermore Marconi, - a real soldier, |
| Mister Micawber and Madame Tussaud! Ah! | which proved that it works without a wire! |
| Take of these elements all that is fusible, | Now stir the elements together well, |
| Melt them all down in a pipkin or crucible, | all the geniuses and the great talents all |
| Set them to simmer, and take off the scum, | then this mixture distills exactly. |
| And a Heavy Dragoon is the residuum! " | And a heavy dragoon - that's the extract! " |
Notes on the people mentioned:
- Saharet, nee Clarissa Rose Campell, (born March 21, 1879 in Melbourne, Australia, † 1942 ibid) was an Australian can-can dancer.
- August Hugo Friedrich Scherl founded a press and book publisher on October 1, 1883, which has been called August Scherl Verlag since 1900.
- Reinhold Begas (born July 15, 1831 in Schöneberg; † August 3, 1911 there) was a German sculptor.
- Hugo Eberlein (born May 4, 1887 in Saalfeld / Saale, † October 16, 1941 in Moscow) was a German communist politician.
- Hermann Sudermann was a German writer and playwright.
- Ludwig Leichner (born March 30, 1836 in Mainz, † August 10, 1912 in Dahlem) was an opera singer (baritone) and a successful cosmetics manufacturer.
- Franz von Vecsey was a Hungarian violinist and composer. Known: Valse triste
This patter song is sung at an exciting, tongue-splitting tempo. The people of culture and public life who were known at that time appear, some of which are absolutely part of the local flavor. British humor and self-irony are a special peculiarity of the English-speaking area, as you can find them again and again in many plays, musicals and films. It is seldom possible to translate the pun and the word games into other languages. Translate would be the wrong word here, because the literal translation makes the whole thing more incomprehensible and certainly not singable. In many English and American films and TV series, the pun is lost due to the German synchronization, which often degenerates into a flat, level-less sit-com.
The irony and almost sarcasm of Patience's libretto are definitely reminiscent of the 1950s of Austrian cabaret, especially in the Kärntnertor Theater and in Der Fledermaus, as well as the names of Gerhard Bronner, Carl Merz, Helmut Qualtinger, Peter Wehle and other authors. As an example of another matter, namely the termination of pregnancy, the couplet “The old angel maker from Diamantengrund” or the couplet “A Krügerl, a Glaserl” on the subject of the Viennese's drinking pleasure should be mentioned. It is noticeable that Gilbert touches on the issue of a homosexual appearance, but does not drag anything in the dirt. Just like the Austrian Jewish joke (once wonderfully performed by Fritz Muliar), makes fun of itself in self-irony, but never hurts maliciously. Another example is the musical Fiddler on the Roof, in which Jewish customs are satirized.
Colored horns in the history of homosexuality
In Patience , the authors Gilbert and Sullivan created Reginald Bunthorne, the first main character in an operetta that can be interpreted as "homosexual". Kenrick John writes: “Bunthorne was a biting parody of the sexually ambivalent aesthetes (Oscar Wilde etc.) who both delighted and outraged Victorian society. This humorous dude on stage in a tight dark velvet suit, with outrageously long hair and a lily in his limp, twisted hand. His smooth gait, rowing wrists, and simple expression were instantly recognizable as the stereotypical homosexual sort. To soothe the Victorian sensibility, G & S Bunthorne portray as if he were chasing women, even though he has more feminine traits than any of his official love goals. In the carefully formulated Patter song 'I'm alone and unobserved', Bunthorne confesses that his aesthetic claims are a 'sham' to gain public admiration - And everyone will say As you walk your flowery way If he's content With a vegetable love That would certainly not suit me, Why, what a most particularly Pure young man This pure young man must be. However, when Bunthorne is ultimately spurned by the women who once adored him, he clings to the only reliable things in his life - his affectation and his limp lily. Hetero- or homosexual, Bunthorne is the sexually most ambivalent male character that the mainstream music stage has seen until then. ”Bunthorne has, so to speak, opened the door to the representation of homosexuals on stage. It wasn't until 100 years later that real gay characters, i.e. those named as such, were seen in La Cage aux Folles (Jerry Herman, 1983). The G&S Society, among others, opposes this interpretation of Bunthorne as homosexual. Nevertheless plays Patience and the figure of Bunthorne a special role in the history of homosexuality. Carolyn Williams writes in her 2012 book Gilbert & Sullivan : “Bunthorne, alone with his lily at the end of 'Patience', now seems clearly legible as a moment in the development of homosexual historiography. At this point, whether a particular reader or audience perceives a homosexual undertone in this work, no good interpretation of "Patience" can ignore the prominent place "Patience" occupies in the history of homosexuality as social identity and social Art originated in the late nineteenth century, and crystallized in the keen sight of the public and the punishment of Wilde during and after the investigation of 1895 (sentenced to 2 years in prison). "
According to the interpretation of some LGBT critics, G&S use Bunthorne to make fun of gays and at the same time to earn money with or from them. That is why Gilbert & Sullivan are portrayed as villains in the AIDS film Zero Patience : They are representatives of the pharmaceutical industry ("Gilbert Sullivan Pharmaceuticals"), which produces overpriced AIDS drugs. Vincent Lankewish argues in his essay “Seeing Through the Marriage Plot: Queer Visionaries in Victorian Literature”: “From Patience to Zero Patience , it is a long process that extends from the late nineteenth century to the present, a gradual development that is still going on, encompassing both suffering and hope. "
In The Invention of Love (1997) by Tom Stoppard - about the homosexual poet AE Housman - says Houseman's friend Moses Jackson, loves the Houseman secretly for a joint visit of Patience -performance in the new Savoy Theater with electric light: "Every age thinks it's the modern age, but this one really is. Electricity is going to change everything, everything! " ("Every age thinks it's the modern age. But that one there it really is. Electricity will change everything! Everything!") Jackson's remark about the new lighting in the Savoy Theater gains depth when it becomes clear that the historical emergence von Wilde throws a broader, more public light on sexuality. Wilde's special invention of love will change everything, like the lighting in the Savoy Theater.
The whole gay issue is discussed for the first time in detail and in context by Carolyn Williams in her book Gilbert and Sullivan: Gender, Genre, Parody (2012). Her conclusion is: “Bunthorne, alone with his lily at the end of Patience, now seems clearly legible as a moment in the development of homosexual historiography. At this point, whether a particular reader or audience perceives a homosexual undertone in the work, no good interpretation of patience can ignore the prominent place patience occupies in the history of homosexuality, which emerged as a social identity and social species in the late nineteenth Century, and crystallized in the keen sight in public and the punishment of Wilde during and after the investigation of 1895 (sentenced to 2 years in prison). In the course of the time, when solitaire became more and more popular, colored horns were increasingly associated with game; in the late 1880s the association was fixed as public representation and it gained explicit homosexual and homophobic significance. "
The situation today
Homosexuality has not been a criminal offense in England since 1967, in Scotland since 1981 and in Northern Ireland since 1982. After that, openly "gay" representations of Bunthorne became possible for the first time. The soprano Joan Lawrence, member of the D'Oyly Carte Opera Company in 1957 and involved in the new productions of Patience as “lovesick maiden”, recalls in the book Glitter and be Gay: The authentic operetta and its gay admirers (2007): “Although us It was clear to everyone that Bunthorne was to be equated with Oscar Wilde in many ways, nobody at D'Oyly Cartes had the idea at the time that Patience could have anything to do with homosexuality. That wasn't an issue at all. It wasn't even talked about for fun. One must remember that homosexuality was still a criminal offense in England back then, and one would go to jail for being discovered. The word 'gay' was not used as a synonym for homosexuality at the time either. If it was necessary at all, people spoke of 'queer' (= strange). [...] It is ridiculous when I think about it now, at almost 70 years of age and with a lot more life experience, but we 'lovesick maidens' never asked ourselves in 1957 why Bunthorne actually didn't want us. […] I only noticed the homosexual subtext of Patience in 1974, when I saw the piece again at the D'Oyly Carte Company, still in a production from 1957, which was in the troupe's repertoire until the 1978/79 season. The situation of gays in England had changed dramatically in the late 1960s due to a new legal situation. Accordingly, it had become possible to operate with allusions to homosexuality in the theater, and a play like Patience could also be played much more 'gay'. "
In 2012 there was the first performance of Patience with an all-male cast in London , staged by Sasha Regan. Michael Billington writes in The Guardian newspaper : "While the result is as 'blithe and gay' as the dairymaid heroine herself, it also leaves me feeling that the single-sex approach blunts the satirical edge of this strange piece."
Homosexuality has been completely decriminalized in Germany and Austria since January 1, 2010. However, there are no productions by Patience worth mentioning in the German-speaking area that would have attracted national attention. Although the piece would be particularly topical today in the discussions about equality, gay marriage, adoption law, etc.
literature
- Kevin Clarke : Glitter And Be Gay: Homosexuality and Operetta , Männerschwarm Verlag, Hamburg 2007.
- Peter Dempsey in the booklet accompanying the CD, Patience, Naxos Great Opera Recordings 8.110233, London 1951.
- Neue Freie Presse , on Sunday, May 29th, 1887 at No. 8173.
- Kurt Gänzl : Entry on PATIENCE from the ENCYCLOPEDIA OF THE MUSICAL THEATER , Macmillan Library Reference; (May 1994), digital version. Straight from New Zealand.
- Derek Hudson: Notes on Opera in Godwin, Augustine Henry Gilbert & Sullivan. A critical appreciation of the "Savoy operas" . Kennikat Press; 1969, Port Washington, NY
- Rudolph Schanzer: Patience or Love and Secession , aesthetic-parodistic opera in two acts by WS Gilbert and Arthur Sullivan, Feigentreff, Berlin 1904.
- Carolyn Williams: Gilbert and Sullivan: Gender, Genre, Parody. Columbia University Press, New York 2010, ISBN 0-231-14804-6 .
Web links
Individual evidence
- ↑ Hudson Derek, Notes on Opera in Godwin, Augustine Henry Gilbert & Sullivan. A critical appreciation of the "Savoy operas". Kennikat Press; 1969, Port Washington, NY, 172. Translation by the author.
- ↑ Gilbert, Patience , duet Bunthorne and Grosvenor, Act 2 (a pale and thin young man, a lean and straggly young man, a green-yallery, Grosvenor Gallery, foot-in-the-grave young man!)
- ↑ Hudson Derek, Notes on Opera in Godwin, Augustine Henry Gilbert & Sullivan. A critical appreciation of the "Savoy operas". Kennikat Press; 1969, Port Washington, NY, pp. 172-173. Translation by the author.
- ↑ ibid.
- ↑ ibid.
- ↑ Dempsey Peter in the booklet of the CD, Patience , Naxos Great Opera Recordings 8.110233, London 1951, translation by the author.
- ^ Gänzl Kurt , entry on PATIENCE from the ENCYCLOPEDIA OF THE MUSICAL THEATER, Macmillan Library Reference; (May 1994), digital version. Straight from New Zealand. Translation by the author.
- ↑ Die Neue Freie Presse, on Sunday, May 29, 1887 in No. 8173.
- ↑ ibid.
- ↑ ibid.
- ↑ Schanzer, Rudolf (1875–1944), writer, Austrian Biographical Lexicon 1815–1950, Vol. 10 (Lfg. 46, 1990), p. 39
- ↑ Schanzer Rudolph, Patience or Love and Secession , aesthetic-parodistic opera in two acts by WS Gilbert and Arthur Sullivan, Feigentreff, Berlin 1904, pages 8 to 9.
- ↑ Kenrick John, Our Love Is Here To Stay II, The 1800s (Copyright 1996, last revised 2011) http://www.musicals101.com/gay2.htm . Translation by the author.
- ↑ ibid.
- ^ Williams, Carolyn (2010). Gilbert and Sullivan: Gender, Genre, Parody. New York: Columbia University Press. E-Book, Chapter: Bunthorne in the History of Homosexuality. Translated by the author.
- ↑ Lankewish Vincent: Seeing Through the Marriage Plot: Queer Visionaries in Victorian Literature (manuscript)
- ^ Williams, Carolyn (2010). Gilbert and Sullivan: Gender, Genre, Parody. New York: Columbia University Press. E-Book, Chapter: Bunthorne in the History of Homosexuality. Translated by the author.
- ↑ Kevin Clarke (ed.), Glitter and be Gay: The authentic operetta and its gay admirers, Hamburg 2007
- ^ The Guardian, Feb. 20, 2012