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The comic operas of Gilbert and Sullivan are a performing arts phenomenon. Wildly popular when first produced, they are if anything even more popular today. The Complete Annotated Gilbert & Sullivan provides the complete text of all thirteen of the Gilbert and Sullivan operas still being performed today, including H.M.S. Pinafore, The Pirates of Penzance, and The Mikado. Each work is thoroughly annotated, with the text, including stage directions, given on the right-hand page, and the notes on the left. The annotations provide a wealth of information--everything from the identity of real-life people mentioned in the opera, to clear explanations of obscure words and phrases (such as legal terms) and other literary references, to comments from first-night critics, and much more. In addition, Bradley has written a marvelously informative introduction to the book as well as superb introductions to each piece, describing the genesis of the work, its performance history, and other fascinating tidbits. A goldmine of information, The Complete Annotated Gilbert & Sullivan will delight the hearts of Savoyards everywhere.
Most books written on Gilbert and Sullivan have focused on the authors rather than on their work. Examining all 14 operas in detail, this book offers a fresh look at the works themselves.
Memorable melodies and fanciful worlds – the comic operas of Gilbert and Sullivan remain as popular today as when they were first performed. This Companion provides a timely guide to the history and development of the collaboration between the two men, including a fresh examination of the many myths and half-truths surrounding their relationship. Written by an international team of specialists, the volume features a personal account from film director Mike Leigh on his connection with the Savoy Operas and the creation of his film Topsy-Turvy. Starting with the early history of the operatic stage in Britain, the Companion places the operas in their theatrical and musical context, investigating the amateur performing tradition, providing new perspectives on the famous patter songs and analysing their dramatic and operatic potential. Perfect for enthusiasts, performers and students of Gilbert and Sullivan's enduring work, the book examines their legacy and looks forward to the future.
Sir William Schwenck Gilbert (1836-1911) was the most brilliant dramatist of Victorian England. A daring and cynical playwright, the forerunner of Oscar Wilde and George Bernard Shaw, he was also a prolific journalist and humorous poet (his Bab Ballads are still widely read), and he achieved worldwide fame through his long collaboration with the composer Arthur Sullivan, a collaboration that created such classics as H. M. S. Pinafore, The Mikado, and all the other Savoy operas. Now the story of this remarkable writer's life - and of his stormy relationship with Sullivan - is here chronicled by a renowned authority on Gilbert and on the theatrical and literary scene in Victorian London. For this biography, Jane W. Stedman has returned to original sources, has interviewed survivors, and has scoured a whole variety of Victorian periodicals for reviews, and personal comment. Gilbert emerges as a much more complex and interesting figure than has previously been thought. The book is a worthy companion piece to Arthur Jacobs's recent biography Arthur Sullivan: A Victorian Musician.
This book charts the life of Arthur Sullivan—the best loved and most widely performed British composer in history. While he is best known for his comic opera collaborations with W. S. Gilbert, it was his substantial corpus of sacred music which meant most to him and for which he wanted to be remembered. His upbringing and training in church music, and his own religious beliefs, substantially affected both his compositions for the theatre and his more serious work, which included oratorios, cantatas, sacred ballads, liturgical pieces, and hymns. Focusing on the spiritual aspects of Sullivan's life—which included several years as a church organist, involvement in Freemasonry, and an undying attachment to Anglican church music—Ian Bradley uses hitherto undiscovered letters, diary entries, and other sources to reveal the important influences on his faith and his work. No saint and certainly no ascetic, he was a lover of life and enjoyed its pleasures to the full. At the same time, he had a rare spiritual sensitivity, a sincere Christian faith, and a unique ability to uplift through both his character and his music that can best be described as a quality of divine emollient.
This book considers and discusses aspects of the management of the D’Oyly Carte Opera Company in the twentieth century since the death of its founder Richard D’Oyly Carte, and concentrates on key events that contributed to its demise in 1982. In this book, Paul Seeley follows the analytical model that proposes no single factor triggered the collapse, but rather several, both external and internal. In the case of an opera company the external factors may include public taste and market forces, but more significant are the internal factors such as the management decisions taken in response to external factors and how these compare with the original artistic aims, aspirations and business models of the founder. This is a study by someone with close observation of the administration; at the 1982 demise, Seeley was assistant to the company manager, having earlier served on the music staff. The book is a must-read for music historians, theatre historians and arts-management professionals; as an uncompromisingly critical history of the D'Oyly Carte Opera Company it is designed to serve a wider public, not just the Gilbert and Sullivan opera specialist, but anyone keen to debate the desirability of private or public sponsorship of the performing arts.
Treasure Neverland is about factual and fictional pirates. Swashbuckling eighteenth-century pirates were the ideal pirates of all time and tales of their exploits are still popular today. Most people have heard of Blackbeard and Captain Kidd even though they lived about three hundred years ago, but most have also heard of other pirates, such as Long John Silver and Captain Hook, even though these pirates never lived at all, except in literature. The differences between these two types of pirates - real and imaginary - are not quite as stark as we might think as the real, historical pirates are themselves somewhat legendary, somewhat fictional, belonging on the page and the stage rather than on the high seas. Based on extensive research of fascninating primary material, including testimonials, narratives, legal statements, colonial and mercantile records, Neil Rennie describes the ascertainable facts of real eighteenth-century pirate lives and then investigates how such facts were subsequently transformed artistically, by writers like Defoe and Stevenson, into realistic and fantastic fictions of various kinds: historical novels, popular melodramas, boyish adventures, Hollywood films. Rennie's aim is to watch, in other words, the long dissolve from Captain Kidd to Johnny Depp. There are surprisingly few scholarly studies of the factual pirates - properly analysing the basic manuscript sources and separating those documents from popular legends - and there are even fewer literary-historical studies of the whole crew of fictional pirates, although those imaginary pirates form a distinct and coherent literary tradition. Treasure Neverland is a study of this Scots-American literary tradition and also of the interrelations between the factual and fictional pirates - pirates who are intimately related, as the nineteenth-century writings about fictional pirates began with the eighteenth-century writings about supposedly real pirates. 'What I want is the best book about the Buccaneers', wrote Stevenson when he began Treasure Island in 1881. What he received, rightly, was indeed the best book: the sensational and unreliable History of the Pyrates (1724).