Oh Joy! Oh Rapture!: The Enduring Phenomenon of Gilbert and by Ian Bradley

By Ian Bradley

In Oh pleasure! Oh Rapture! professional and fanatic Ian Bradley explores the realm of Gilbert and Sullivan over the past 4 and a part a long time, the best way this "phenomenon" is handed from iteration to iteration. Taking as his place to begin the expiry of copyright at the opera libretti on the finish of 1961 and utilizing interesting hitherto unpublished archive fabric, Bradley unearths the extreme tale of the final years of the previous D'Oyly Carte Opera corporation, the parent of Savoy culture for over 100 years, and the afflicted historical past of its successor. He explores the wealthy vein of parodies, spoofs, and spin-offs of the songs, in addition to their impact on 20th century lyricists and composers. He analyzes expert productions the world over, appears on the detailed position of G&S in faculties, schools, and universities, and lovingly explores the tradition of novice functionality. He additionally uncovers the mostly male international of the obsessive enthusiasts, these accumulating memorabilia, the myriad magazines, journals, web pages, and gala's dedicated to G&S, and the arcane pursuits of a few of the devoted "inner brotherhood."

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Extra info for Oh Joy! Oh Rapture!: The Enduring Phenomenon of Gilbert and Sullivan

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There is no need to thrash around restlessly trying to make the operas ‘relevant’ or ‘different’. 36 For over a hundred years this intriguing mixture of obsessional attention to detail, extreme moral propriety, pure diction, and studied determination to avoid relevance and innovation was maintained and enforced by the D’Oyly Carte Company. Its survival into the penultimate decade of the twentieth century as guardian of an almost unchanging tradition of innocent enjoyment is one of the strangest elements of the whole Gilbert and Sullivan phenomenon and its remarkable powers of endurance.

They were expected to be on stage for  nights a year (usually made up of  weeks on tour followed by a London season of up to  weeks). A request by choristers in  to be allowed some nights off was turned down. The accompanying managerial memo notes, ‘if we did agree, out of  nights suggest three off which should never be at the beginning or end of the week’.  pm to check that it is in order for you take your night off ’. Requests by chorus members for time off were generally turned down, as in the case of a Scottish tenor who asked to be allowed off the second act of Pirates of Penzance on Christmas Eve so he could drive back home in time for the festive season.

Many of the prop baskets were more than thirty years old. Costumes were lovingly preserved and patched up so that they could be used season after season. The robes made for Tolloller and Mountararat in Iolanthe in the s were only finally retired in . Ruddigore costumes dating from  were still in use when the company closed in . When costumes eventually became worn out, embroidery, buttons, and anything else that might be reuseable were painstakingly removed and kept. The D’Oyly Carte Company was literally becoming a thing of shreds and patches.

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