Иоланта: Комикалық опера немесе Пері мен Лорд

1882 comic opera by Gilbert & Sullivan
the comic opera by Gilbert and Sullivan

Iolanthe; or, The Peer and the Peri (/aɪ//.//oʊ/'/l//æ//n//θ//iː/) is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert, first performed in 1882. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert and Sullivan. In the opera, the fairy Iolanthe has been banished from fairyland because she married a mortal; this is forbidden by fairy law. Her son, Strephon, is an Arcadian shepherd who wants to marry Phyllis, a Ward of Chancery. All the members of the House of Peers also want to marry Phyllis. When Phyllis sees Strephon hugging a young woman (not knowing that it is his mother – immortal fairies all appear young), she assumes the worst and sets off a climactic confrontation between the peers and the fairies. The opera satirises many aspects of British government, law and society. The confrontation between the fairies and the peers is a version of one of Gilbert's favourite themes: a tranquil civilisation of women is disrupted by a male dominated world through the discovery of mortal love. Iolanthe opened in London on 25 November 1882, at the Savoy Theatre to a warm reception, and ran for 398 performances, the fourth consecutive hit by Gilbert and Sullivan. It was the first work to premiere at the Savoy (although Patience had transferred to the theatre in 1881) and was the first new theatre production in the world to be illuminated entirely with electric lights, permitting some special effects that had not been possible in the era of gas lighting. The opera opened simultaneously in New York, and touring companies were sent around the UK and US to play the piece. The first Australasian touring production followed in 1885, and the opera was revived in London beginning in 1901. The D'Oyly Carte Opera Company toured the opera nearly continuously in repertory from 1891 until 1982, and made several recordings of the opera over that period. Numerous other professional and amateur productions have been given of this enduring work, and various other recordings have been issued.

W. S. Gilbert presented his basic idea for a new opera to Arthur Sullivan in October 1881. Gilbert's earliest ideas for the story of Iolanthe originated in his Bab Ballad, "The Fairy Curate": "Once a fairy / Light and airy / Married with a mortal." The fairy marries a "prosaic" attorney and bears him a son. After her son grows up, she visits him on Earth, but she is mistaken for his lover, since fairies perpetually appear young and beautiful. Sullivan found the premise funny, and Gilbert set to work on fleshing out the story. By December, he had written some lyrics for Sullivan to look at, but he struggled with the plot for several months, whereas he had dashed off earlier operas in a matter of weeks. During these months, Sullivan took an extended trip to Egypt, Italy and elsewhere. Upon his return to London in April 1882, he moved into a new home; in May, his beloved mother died rather suddenly. By the end of July 1882, Gilbert had supplied Sullivan with lyrics to several of the songs, and Sullivan began work setting them to music. Over the next two months, Sullivan met Gilbert to discuss the libretto as more lyrics were completed. Music rehearsals began in September, and staging began in October, scheduled around performances of Gilbert and Sullivan's previous opera, Patience, which had transferred to the Savoy Theatre a year earlier. Sullivan was still composing more numbers for the opera until 20 October, with a few modifications continuing into early November. Uncharacteristically, Sullivan composed the overture himself, instead of assigning it to an assistant. Two casts rehearsed simultaneously, as the opera was to open on the same night in London and New York City, a historic first for any play. Gilbert had targeted the aristocracy and political officials for satiric treatment in earlier works. In this opera, the House of Lords is lampooned as a bastion of the ineffective, privileged and dim witted, whose only qualification to govern is noble birth. The political party system, the law and other institutions also come in for a dose of satire. Throughout Iolanthe, however, both author and composer managed to couch the criticism among such bouncy, amiable absurdities and "splendid pageantry" that it is all received as good humour, with Prime Minister Gladstone complimenting the opera's good taste. In fact, Gilbert later refused to allow quotes from the piece to be used as part of the campaign to diminish the powers of the House of Lords. Although titled Iolanthe all along in Gilbert's plot book, for a time the piece was advertised as Perola and rehearsed under that name. According to an often repeated myth, Gilbert and Sullivan did not change the name to Iolanthe until just before the première. In fact, however, the title was advertised as Iolanthe as early as 13 November 1882 – eleven days before the opening – so the cast had at least that much time to learn the name. It is also clear that Sullivan's musical setting was written to match the cadence of the word "Iolanthe," and could only accommodate the word "Perola" by preceding it (awkwardly) with "O", "Come" or "Ah". Henry Irving had produced a W. G. Wills adaptation of King René’s Daughter in London in 1880, under the name Iolanthe, and in October 1882 Gilbert asked his producer, Richard D'Oyly Carte, to request Irving's permission to use the name. It is not known whether Irving replied. Iolanthe premiered only three days after Patience closed at the Savoy. The Savoy Theatre, opened only a year earlier, was a state of the art facility, the first theatre in the world to be lit entirely by electricity. Patience had transferred to the Savoy from the Opera Comique, upon the theatre's opening, but Iolanthe was the first show to premiere at the theatre. New lighting technologies made such special effects as sparkling fairy wands possible for the first time. The principal fairies' heads were also lit by wreaths of small illuminated stars attached to a battery. The audience that attended the opening night in London included Captain (later Captain Sir) Eyre Massey Shaw, head of the Metropolitan Fire Brigade, whom the Fairy Queen apostrophises in the second act ("Oh, Captain Shaw / Type of true love kept under / Could thy brigade with cold cascade / Quench my great love, I wonder?"). On the first night Alice Barnett, as the Queen of the Fairies, sang the verses directly to Captain Shaw, who was sitting in the centre of the stalls. The opera's premiere was received by an enthusiastic audience and earned critical praise, although there was general agreement that the second act needed some trimming. Iolanthe became the fourth consecutive major success for Gilbert, Sullivan and their producer, Richard D'Oyly Carte, following H. M. S. Pinafore (1878), The Pirates of Penzance (1879) and Patience (1881). Increasingly viewing his work with Gilbert as frivolous, beneath his skills and repetitious, Sullivan had intended to resign from the partnership with Gilbert and Carte after Iolanthe, but on the day of its premiere, he received a letter from his broker, Edward Hall, notifying him that Hall had lost all his money, including £7,000 of Sullivan's investments, the bulk of his fortune. Sullivan's lifestyle was not inexpensive, and he was helping to support his late brother's large family, as well as his mistress, Fanny Ronalds, and her family. He soon concluded that the only certain way to restore his financial security was to continue writing Savoy operas. On 8 February 1883, he signed a new five year creative partnership agreement with Gilbert and Carte; Gilbert was already at work on their next piece, Princess Ida. On 22 May 1883, Sullivan was knighted by Queen Victoria for his "services rendered to the promotion of the art of music" in Britain.

18a. "De Belville was regarded as the Crichton of his age" (Mountararat) was cut soon after the opening night of Iolanthe. The number appeared soon after Mountararat's Act II entrance, after Phyllis's comment about Strephon going about "with a mother considerably younger than himself". After a short dialogue (which would also be cut) about how people become peers, Mountararat sings a long song about De Belville, a polymath whose talents ranged from painting to literature to inventions. Government was at a loss as to how to reward him – until he inherited millions and obtained a seat in Parliament and "a taste for making inconvenient speeches in the House (of Commons)". He was promptly rewarded by being removed from that House by being given a peerage. According to Reginald Allen's The First Night Gilbert and Sullivan, as well as contemporaneous reviews, it was recited on the first night, rather than sung, and the middle stanza omitted. The music has been lost, except for a leader violin part found in a private collection of band parts in 1999. 21a. "Fold your flapping wings" (Strephon) was sung on the first night and cut soon afterwards. The song, preceded by a recitative for Strephon ("My bill has now been read a second time") appeared shortly after #21, following the exit of the two Earls and the Lord Chancellor and the entrance of Strephon. The tone of the song is dark and angry, in marked contrast with the generally genial tone of Iolanthe, and the lyrics make the case that bad behaviour by the underclasses is caused by their unfortunate circumstances: "I might be as bad – as unlucky, rather – if I only had Fagin for a father." The music to this song survives, and although most productions continue to omit it, the song has been used in some modern productions and as a separate concert piece.