W S Gilbert Arthur Sullivan Princess Ida

The partnership between William Schwenck Gilbert and Arthur Seymour Sullivan and their canon of Savoy Operas is rightly lauded by all lovers of comic opera the world over. Gilbert's sharp, funny words and Sullivan's deliciously lively and hummable tunes create a world that is distinctly British in view but has the world as its audience. Both men were exceptionally talented and gifted in their own right and wrote much, often with other partners, that still stands the test of time. However, together as a team they created Light or Comic Operas of a standard that have had no rivals equal to their standard, before or since. That's quite an achievement. To be recognised by the critics is one thing but their commercial success was incredible. The profits were astronomical, allowing for the building of their own purpose built theatre - The Savoy Theatre. Beginning with the first of their fourteen collaborations, Thespis in 1871 and travelling through many classics including The Sorcerer (1877), H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1885), The Gondoliers (1889) to their finale in 1896 with The Grand Duke, Gilbert & Sullivan created a legacy that is constantly revived and admired in theatres and other media to this very day.

The following book is a collection of comic operas with the play itself being written by the dramatist W. S. Gilbert and the music composed by Arthur Sullivan. It includes their best known works: 'H.M.S. Pinafore', 'The Pirates of Penzance' and 'The Mikado'. Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion; fairies rub elbows with British lords, flirting is a capital offense, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies that could convey both humor and pathos. Their operas have enjoyed broad and enduring international success and are still performed frequently throughout the English-speaking world.

Princess Ida is a comic opera in two acts, with music by Sullivan and libretto by Gilbert. It satirizes feminist ideals and the women's education movement, and is notable for being the only Gilbert and Sullivan work in which the dialogue is written entirely in blank verse. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Princess Ida is a comic opera in two acts, with music by Sullivan and libretto by Gilbert. It satirizes feminist ideals and the women's education movement, and is notable for being the only Gilbert and Sullivan work in which the dialogue is written entirely in blank verse. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

An examination of Gilbert and Sullivan's comic operas, and how parody was used in the culture wars of late-nineteenth-century England.