1.
Alfred Cellier
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Alfred Cellier was an English composer, orchestrator and conductor. He composed over a dozen operas and other works for the theatre, as well as for orchestra and it became the longest-running piece of musical theatre in the nineteenth century. Cellier was born at Hackney, in London and his parents were Arsène Cellier from France, a professor of languages at Hackney Grammar School, and his wife Mary Ann. He was educated at the school in Hackney. From 1855 to 1860, he was a chorister at the Chapel Royal, St. Jamess, under the Rev. Thomas Helmore, Celliers brother, François, also became a conductor. Celliers first appointments were as organist at All Saints Church, Blackheath, in 1866 he succeeded Dr. Chipp as organist and director of the Ulster Hall concerts, Belfast, at the same time acting as conductor of the Belfast Philharmonic Society. In 1868 he returned to London as organist of St Albans Church, in January 1871, Cellier became the first conductor and music director at the Royal Court Theatre in London. From 1871 to 1875 he was conductor and music director at the Princes Theatre, during this period he composed many comic operas and operettas, the most successful of which was The Sultan of Mocha, produced at Princes Theatre, Manchester, in 1874. Another success was Charity Begins at Home, with librettist B. C, the piece was played more than 200 times. He also wrote numerous songs and composed for orchestra and the piano. His stage works, however, were more successful than his serious concert music, most of Celliers early works for the theatre, however, including Topsyturveydom, The Tower of London, Nell Gwynne, Two Foster Brothers, and Bella Donna, had only modest success. In December 1877 Cellier joined the DOyly Carte company as director at the Opera Comique in London. There he conducted The Sorcerer, H. M. S, Pinafore, Trial by Jury, George Grossmiths Cups and Saucers, and three of his own one-act works, Doras Dream, The Spectre Knight, and After All. His brother, François, succeeded him as director at the Opera Comique in 1879. Alfred Cellier was a conductor of a series of concerts at the Queens Theatre, Long Acre and, in 1878–1879 he was joint conductor, with Sullivan. In 1879, he travelled with Gilbert, Sullivan, and Carte to America, Cellier prepared the overture to Pirates using Sullivans music from the rest of the score. Back in London in July 1880, he directed the music at the Opera Comique for Pirates and another of his own pieces with Desprez, in April 1881, he left the DOyly Carte company, ceding the baton to his brother. Cellier composed a grand opera, Pandora, a version of Longfellows The Masque of Pandora that was presented in Boston in 1881
2.
Ivan Caryll
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Félix Marie Henri Tilkin, better known by his pen name Ivan Caryll, was a Belgian composer of operettas and Edwardian musical comedies in the English language. He composed some forty musical comedies and operettas, carylls career encompassed three eras of the musical theatre, and unlike some of his contemporaries, he adapted readily to each new development. He also wrote some operetta scores, such as The Duchess of Dantzic, after this, he moved to New York City where his post-war works, incorporating new fox-trot and one-step rhythms, included The Girl Behind the Gun. At the peak of his career, he had the distinction of having five musicals running at the same time in the West End. Caryll was born in Liège, Belgium, the son of Henry Tilkin and he studied at the Liège Conservatoire, where he was a fellow student of Eugène Ysaÿe. He then moved to France to study singing at the Paris Conservatoire and he moved to London in 1882. He was married for a time in the 1890s to Gilbert and he had a daughter named Primrose Caryll, who became an actress. The dashing, moustachioed Caryll was known as one of the best dressed men in London and he was an extravagant spender and a popular and lavish host, entertaining his theatrical friends in princely style. Carylls free spending ways caused him trouble occasionally, and he had a few narrow escapes from his creditors, at first, Caryll earned a poor living by giving music lessons to women in the suburbs. Then he sold some songs to George Edwardes, who hired him as the musical director for the Gaiety. He attempted to raise orchestral standards by banning the deputy system, carylls first theatre piece was Lily of Léoville in 1886. He sent the score to Camille Saint-Saëns, who used his influence to have it staged at the Bouffes Parisiens, violet Melnotte secured the English rights, and it was presented in London featuring a young Hayden Coffin. This was followed the year by Monte Cristo Jr, a burlesque for the Gaiety and then by a number of shows produced for the Lyric. Caryll, known as a very expressive conductor, conducted W. S. Gilbert and Alfred Celliers The Mountebanks at the Lyric in 1892. Also in 1892, with George Dance, Caryll adapted an opera called Ma Mie Rosette, based on a French piece by Paul Lacôme, starring Jessie Bond. Caryll recalled of this production that he had been criticised for adding numbers to Lacomes original score. Carylls first big success at the Gaiety was The Shop Girl, the composer conducted the piece himself. Meanwhile, Caryll also had success elsewhere, the Gay Parisienne, written with George Dance, ran for 369 performances at the Duke of Yorks Theatre, played in New York as The Girl from Paris and toured internationally
3.
W. S. Gilbert
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Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for the fourteen comic operas produced in collaboration with the composer Sir Arthur Sullivan. The most famous of these include H. M. S, Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. The popularity of works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that they founded. Eleven of the Savoy operas continue to be performed in the English-speaking world and beyond by opera companies, repertory companies, schools. Lines from these works have become part of the English language, such as short, sharp shock, What, and Let the punishment fit the crime. Gilberts creative output included over 75 plays and libretti, and numerous stories, poems and lyrics. He also began to write burlesques and his first comic plays, developing a unique absurdist and he also developed a realistic method of stage direction and a reputation as a strict theatre director. M. S. Pinafore and The Pirates of Penzance, in the 1880s, Gilbert focused on the Savoy operas, including Patience, Iolanthe, The Mikado, The Yeomen of the Guard and The Gondoliers. Gilbert won the lawsuit, but the argument caused hurt feelings among the partnership. Although Gilbert and Sullivan were persuaded to collaborate on two last operas, they were not as successful as the previous ones, in later years, Gilbert wrote several plays, and a few operas with other collaborators. He retired, with his wife and ward, Nancy McIntosh, to a country estate, Gilbert died of a heart attack while attempting to rescue a young woman to whom he was giving a swimming lesson in the lake at his home. Gilbert was born at 17 Southampton Street, Strand, London and his father, also named William, was briefly a naval surgeon, who later became a writer of novels and short stories, some of which were illustrated by his son. Gilberts mother was the former Anne Mary Bye Morris, the daughter of Thomas Morris, Gilberts parents were distant and stern, and he did not have a particularly close relationship with either of them. They quarrelled increasingly, and following the break-up of their marriage in 1876, his relationships with them, especially his mother, Gilbert was nicknamed Bab as a baby, and then Schwenck, after his fathers godparents. As a child, Gilbert travelled to Italy in 1838 and then France for two years with his parents, who returned to settle in London in 1847. He then attended Kings College London, graduating in 1856, instead he joined the Civil Service, he was an assistant clerk in the Privy Council Office for four years and hated it. In 1859 he joined the Militia, a volunteer force formed for the defence of Britain, with which he served until 1878. In 1863 he received a bequest of £300 that he used to leave the service and take up a brief career as a barrister
4.
Arthur Sullivan
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Sir Arthur Seymour Sullivan MVO was an English composer. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, Pinafore, The Pirates of Penzance and The Mikado. The best known of his hymns and songs include Onward Christian Soldiers, the son of a military bandmaster, Sullivan composed his first anthem at age eight. He was selected as soloist in the choir of the Chapel Royal. His graduation piece was a suite of music to Shakespeares The Tempest. When it was performed in London in 1862, it was an immediate sensation, Sullivan began his composing career with a series of ambitious works, interspersed with hymns, parlour ballads and other light pieces. Among his best received early pieces were a ballet, LÎle Enchantée, from 1861 to 1872, he supplemented his income by working as a church organist and music teacher, and writing hymns and songs. In 1866, Sullivan composed a comic opera, Cox and Box. His most successful work, the Overture di Ballo, premiered in 1870. Sullivans talent and native charm earned him friends in musical and social circles, including Queen Victorias son Alfred. In 1871, Sullivan wrote his first opera with W. S. Gilbert, Sullivan then produced his Festival Te Deum, an oratorio, The Light of the World, and incidental music for West End productions of several Shakespeare plays. He also had conducting and academic appointments, in 1875, producer Richard DOyly Carte reunited Gilbert and Sullivan to create a one-act piece, Trial by Jury, which was a surprise hit. Pinafore became a sensation, as did The Pirates of Penzance and Patience. Sullivan never married but had a love affair with an American socialite. After the death of his brother Fred in 1877, Sullivan supported Freds large family financially for the rest of his life, effectively adopting his nephew Bertie. Carte used his profits from the Gilbert and Sullivan partnership to build the Savoy Theatre in 1881, later hits in the series were Iolanthe, The Mikado, The Yeomen of the Guard and The Gondoliers. Sullivan was knighted for his contributions to music in 1883 and his infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch and The Golden Legend, his most popular choral work. Sullivans only serious opera, Ivanhoe, though successful in 1891, was little-heard after that
5.
Edwardian musical comedy
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Between In Town in 1892 and The Maid of the Mountains in 1917, this new style of musical theatre became dominant on the musical stage in Britain and the rest of the English-speaking world. The Gaiety Theatres well-loved but racy burlesques were coming to an end and these two genres had dominated the musical stage since the 1870s. A few lighter, more comic operas, beginning with Dorothy found success. The father of the Edwardian musical was George The Guvnor Edwardes and he took over the Gaiety Theatre in the 1880s and, at first, improved the quality of the old Gaiety Theatre burlesques. Perceiving that their time had passed, he experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter and these drew on the traditions of Savoy opera and also used elements of burlesque and of Americans Harrigan and Hart. Their plots were simple, and they included displays of contemporary fashion and scenery. These shows were widely copied at other London theatres and then in America. The first Edwardian musical comedy was In Town in 1892 and its success, together with the even greater sensation of A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking. These musical comedies, as he called them, revolutionized the London stage and set the tone for the next three decades. According to musical theatre writer Andrew Lamb, The British Empire, Edwardes early Gaiety hits included a series of light, romantic poor maiden loves aristocrat and wins him against all odds shows, usually with the word Girl in the title. After A Gaiety Girl came The Shop Girl, The Circus Girl, the heroines were independent young women who often earned their own livings. The stories followed a plot line – a chorus girl breaks into high society. There was always a misunderstanding during act one and an engagement at the end, in the words of a contemporary review, Edwardes’ musicals were Light, bright and enjoyable. Later Gaiety Theatre girl musicals included The Orchid, The Spring Chicken, The Girls of Gottenberg, Our Miss Gibbs, The Sunshine Girl and The Girl on the Film. The Geisha and San Toy each ran for more than two years and found international success, capitalizing on the British craze for all things oriental. Other Edwardes hits included The Girl from Kays, The Earl, the chief glories of Edwardian musical comedies lie in their musical scores. At their best, these combined the delicacy and sophistication of operetta with the robust tunefulness of the music hall, the major composers of the genre were Sidney Jones, Ivan Caryll, Lionel Monckton, Howard Talbot, Leslie Stuart and Paul Rubens. Scores were constantly refreshed and re-arranged, often by a number of different composers and lyricists, important writers included Adrian Ross, Harry Greenbank, Percy Greenbank, Owen Hall, Charles H. Taylor and Oscar Asche
6.
Lyric Theatre, London
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The Lyric Theatre is a West End theatre on Shaftesbury Avenue in the City of Westminster. It was the theatre to be constructed on this stretch of Shaftesbury Avenue and is now the oldest in the street. The foyer and bars were refurbished in 1932–33, and the facade was restored in 1994, at present it seats 967 on four levels, although it originally was designed with a seating capacity of 1,306. The theatre still uses a pump to operate its iron curtain. Early in the history, it staged mostly comic operas. The theatre retains many of its features and the theatre was Grade II listed by English Heritage in September 1960. The Lyric Theatre still uses water to operate its iron curtain, the water was originally pumped from the river Thames to all West End theatres and hotels and used to hydraulically operate heavy machinery lilke lifts. Curtain in The Lyrics Theatre is now operated via electric pump, the Lyric Theatre is owned by Nimax Theatres from 2005 when Nica Burns and Max Weitzenhoffer purchased it. In 2005 they established Nimax Theatres, 124–5 ISBN 0-7136-5688-3Whos Who in the Theatre, edited by John Parker, tenth edition, revised, London,1947, pps, 477–478. Lyric Theatre history with archive programmes and many images Lyric Theatre website
7.
Geraldine Ulmar
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Geraldine Ulmar was an American singer and actress, best known for her performances in soprano roles of the Gilbert and Sullivan operas with the DOyly Carte Opera Company. Annie Geraldine Ulmar was born in Charlestown, Massachusetts and she began singing in amateur concerts as a child. In 1879, she made her debut in the role of Josephine in Gilbert. Pinafore, aboard a ship in a lake in Bostons Oakland Garden and she joined a DOyly Carte touring company in England, singing Yum-Yum and Josephine for a few months, then Yum-Yum in the German company, before returning to America in the summer of 1886. In May 1887, she returned to London to play Rose at the Savoy and remained there to play the roles in the 1888 London revivals of Pinafore, The Pirates of Penzance. The Times wrote, in 1887, that she is born to the manner of the form of art invented by. Her voice, although not very powerful, is capable of dealing with the composers short-skirted airs. Miss Ulmar’s style must be called a little prononcé, at the same time she eschews any approach to vulgarity. Ulmar originated the leading roles of Elsie Maynard in The Yeomen of the Guard. She remained in London to play Marton in La Cigale by Edmond Audran, burnand, and next appeared as Teresa in W. S. Gilbert and Alfred Celliers The Mountebanks and Guinevere Block in Little Christopher Columbus. Beginning in 1896, she toured as O Mimosa San in The Geisha with George Edwardess touring company and her last stage role was Jane Jingle in Ladyland. Ulmar then turned to teaching singing, some of her students became well known, including Jose Collins and Evelyn Laye. For part of the 1890s, she was married to composer Ivan Caryll and she died in Merstham Surrey, England. London, W. H. Allen & Co Ltd, gänzls Book of the Broadway Musical,75 Favorite Shows, from H. M. S. Brief profile from The Theatre,1 August 1887 August Photographs
8.
Frank Wyatt
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Frank Wyatt was an English actor, singer, theatre manager and playwright. After beginning his career as an illustrator and painter, in 1877 Wyatt began a career in comedy, Victorian burlesque, pantomime. In 1884 he had success in a Shakespeare role in Henry Irvings company, and in 1885 he created the role of Ravennes in the comic opera Erminie, which went on to become an international sensation. In this production he met Violet Melnotte, who appeared in Erminie. Wyatt continued to perform in operas and comedies until about 1900. From the 1890s Wyatt and his wife owned and managed the Trafalgar Square Theatre and he also wrote plays and a grand opera. Wyatt was born Francis Nevill Gunning in Greenwich in London, the son of Thomas Wyatt Gunning, a barrister and he was christened on 29 December 1852 in St Alfege church in Greenwich. His sisters were Charlotte Augusta Gunning and Lucy Matilda Constance Gunning and he studied art at the Royal Academy, became an illustrator on the Illustrated Sporting and Dramatic News and successfully exhibited and sold paintings. Over the next two decades, Wyatt appeared regularly before London audiences in burlesques at the Gaiety Theatre, London, in 1879 he appeared with Selina Dolaro in the melodramatic burlesque Another Drink at the Folly Theatre, caricaturing William Rignold and dancing a can-can with Dolaro. In 1880 he played Punch in the pantomime Mother Goose and the Enchanted Beauty at Drury Lane Theatre with Arthur Roberts, in 1884 he was praised for by far the best piece of comic character-drawing in creating his role of Captaine Coqueluche in H. B. Farnies adaptation of Edmond Audrans operetta The Grand Mogul, starring Florence St. John, Fred Leslie, also in 1884 he had a success in a Shakespeare role in Henry Irvings company, playing Andrew Aguecheek in Twelfth Night at the Lyceum Theatre, London. He appeared in the 1888 burlesque of Atalanta at the Strand Theatre with Willie Warde, on 8 June 1889, W. S. Gilbert visited Arthur Sullivan at his home in London to read through the draft of their new opera, The Gondoliers. Satisfied by what they had seen, they invited Wyatt to join the DOyly Carte organisation on a contract to create the role of the Duke of Plaza-Toro at the Savoy Theatre in The Gondoliers. Wyatt appeared in the role from December 1889 to June 1891, H. M. Wyatt next created the role of Baboo Currie in The Nautch Girl by Dance and Solomon, playing the part from June to December 1891, when his contract with DOyly Carte ended. From January to July 1892 he appeared at the Lyric Theatre as Arrostino Annegato in The Mountebanks by Gilbert, wyatts reviews describe his effectiveness in the songs allotted to him. He then played Woodpecker Tapping in Haste to the Wedding, a comic opera by Gilbert. Also in 1892, he appeared in London in Ma Mie Rosette by Ivan Caryll and George Dance, together with Jessie Bond, on tour, Wyatt appeared in Mamzelle Nitouche in 1893. Later that year, he returned to London in a farce called A Screw Loose at the Vaudeville Theatre, in 1896, Wyatt was seen in The Star of India at Princesss Theatre, London
9.
Lionel Brough
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Lionel Brough was a British actor and comedian. After beginning a career and performing as an amateur, he became a professional actor. In the 1870s and 1880s, Brough was one of the comic actors in London. Although untrained musically, he appeared in several successful operettas in the 1880s and 1890s. He continued to contribute popular performances into the 20th century and ended his career in comedy roles with Herbert Beerbohm Trees company. Brough was born in Pontypool, Wales, the son of Barnabas Brough, a brewer, publican, wine merchant and later dramatist, and his wife Frances Whiteside and his brothers, William and Robert were also playwrights, and his brother John Cargill Brough was a science writer. His father was kidnapped by the Chartists in 1839 and was a prosecution witness at the trial of the Chartist leader John Frost. The family was ostracised and ruined financially as a result, Broughs first job was as an office boy at The Illustrated London News. He was then employed as assistant publisher by The Daily Telegraph, at the former, he introduced to England the American system of selling the newspaper in the streets using newsboys. Brough made his debut at age 18 with the company of Madame Vestris to play in an extravaganza written by his brother William. In 1858, he was again at the Lyceum but then left the stage to work at The Morning Star. He performed in amateur theatricals in the early 1860s and this burlesque was presented as a fund-raiser for the Lancashire Famine Relief Fund. Brough repeated The Forty Thieves in Liverpool, where Alexander Henderson, in his Whos Who entry, Brough recorded, joined theatrical profession at Prince of Waless, Liverpool,1863. The company there included Squire Bancroft and John Hare, in 1864, he performed there as Iago in Ernani opposite Lydia Thompson and Lavinia in The Miller and His Men. He also performed at other Liverpool theatres in the 1860s, including the Amphitheatre, Brough made his London debut in 1865 in Prince Pretty Pet by his brother William at the Lyceum Theatre but continued mostly in Liverpool until 1867. The Times wrote of him, Mr Lionel Brough, an accession from the Liverpool stage, in the part of Dard, showed the right. His appearance in other characters will be looked for with interest, in The Taming of the Shrew, he was cast as Grumio. The same company presented many adaptations of the novels of Charles Dickens, including Oliver Twist in 1868, the following year, at the St Jamess Theatres revival of She Stoops to Conquer, Brough played Tony Lumpkin for almost 200 nights
10.
Eva Moore
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Eva Moore was an English actress. Her career on stage and in film spanned six decades, in her 1923 book of reminiscences, Exits and Entrances, she describes approximately ninety of her roles in plays, but she continued to act on stage until 1945. She also acted in more than two dozen films and her daughter, Jill Esmond, was the first wife of Laurence Olivier. Moore was born and educated in Brighton, Sussex, the eighth of ten children and her parents were the chemist Edward Henry Moore and his wife, Emily Moore. She attended Miss Pringles school in Brighton and then studied gymnastics, returning to Brighton, she taught dancing. In 1891 she married actor/playwright Henry V. Esmond and they had three children, Jack, Jill and Lynette, who did not survive infancy. Her husband wrote more than a dozen plays in which she appeared, Moore made her first stage appearance at Londons Vaudeville Theatre on 15 December 1887, as Varney in Proposals. She next joined Tooles company and appeared at Tooles Theatre on 26 December of that year as the Spirit of Home in Dot, in 1888, she was back at the Vaudeville in a play with her sisters Jessie and Decima, Partners, by Robert Williams Buchanan. In 1890, she created the role of the countess of Drumdurris in the Arthur Wing Pinero play The Cabinet Minister at the Court Theatre, in 1892, she appeared as Minestra in the comic opera The Mountebanks by W. S. Gilbert and Alfred Cellier. The next year, she created the role of Pepita in the long-running Little Christopher Columbus, in 1894, she joined Charles Hawtrey and Lottie Venne in F. C. In 1907, she took the part in Sweet Kitty Bellaire and played Mrs. Errol in Little Lord Fauntleroy, Mrs. Crowley in The Explorer in 1908. Mrs. Bayle in Best People and Mrs. Rivers in The House Opposite in 1909, Moore was active in the suffrage movement, attending meetings and appearing in suffragist plays and films. After the First World War began, she continued acting at the Vaudeville in the evenings but worked as a volunteer during the day for the Womens Emergency Corps, based at the Little Theatre. She raised money for hospital and wartime causes and was honoured with the de la Reine Elisabeth for her wartime activities. At the Royalty Theatre, she played Mrs. Culver in the 1918 play The Title, by Arnold Bennett, where she also played Mrs. Etheridge in Caesars Wife by W. Somerset Maugham and the title role in Mumsie. From 1920 to 1946, Moore made over two films, beginning with The Law Divine. Some of her silent films were Flames of Passion, The Great Well, Chu-Chin-Chow. Her most popular talkies included Almost a Divorce, The Old Dark House, Leave It to Smith, I Was a Spy, Jew Süss, A Cup of Kindness, Vintage Wine, The Divorce of Lady X and Of Human Bondage
11.
Furneaux Cook
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Furneaux Cook, born John Furneaux Cook, was an English opera singer and actor best known for baritone roles in the comic operas of Gilbert and Sullivan and Alfred Cellier on the London stage. Cook appeared on stage for over 30 years in London, the British provinces, Cook was the brother of opera singer T. Aynsley Cook and fellow Savoyard Alice Aynsley Cook. One of Cooks earliest professional engagements was in the obscure Michael Balfe opera, Letty the Basketmaker and this was played as part of the same programme with W. S. Gilberts burlesque Robert the Devil. Cook also played Peter the Watchman in the burlesque Cinderella the Younger at the Gaiety in 1871, farnie, based on Jacques Offenbachs Le Violoneau. From 1879 to 1880, he travelled to America with Gilbert, Sullivan and he also played Dr. Daly on this tour. On 23 April 1880, the gave a benefit for Cook consisting of Pinafore and the second act of Pirates, in which Cook played Deadeye, Corcoran. Cook left the company upon his return to England, appearing later in 1880 and 1881 in The Kings Dragoons in Manchester and Liverpool, re-joining the DOyly Carte organisation at the end of 1881, he played Sir Marmaduke Pointdextre in The Sorcerer and Corcoran in Pinafore. In 1883, Cook joined Kate Santleys company at the Royalty Theatre in The Merry Duchess by George R. Sims, in 1884, he also played Cox in a series of matinees of Cox and Box at the Royal Court Theatre with Richard Temple and Arthur Cecil. He then retired from the DOyly Carte company, after this, Cook created the role of Squire Bantam in the hit comic opera, Dorothy, by Cellier and librettist B. C. Stephenson in September 1886. In the show, he was assigned the song Heres a welcome to all at Chanticleer Hall and this show enjoyed a record-setting two-year run. Next, he appeared as Alderman Shelton in Cellier and Stephensons Doris in 1898, after this, Cook continued to act in London for another ten years. In 1892, he appeared in Gilbert and Celliers The Mountebanks as innkeeper Elvino di Pasta, in 1893, he played in Little Christopher Columbus, a very successful musical burlesque with music by Ivan Caryll and Gustave Kerker and a libretto by George Robert Sims and Cecil Raleigh. In 1894, Cook was in The House of Lords by Harry Greenbank with music by George Byng, Cook was the recipient of a benefit matinee performance of Dorothy at the Gaiety Theatre in June 1897, reviving his role as the Squire. His last appearance in London was as a juryman in Trial by Jury, at the Theatre Royal, Cook died in West Kensington, London and is buried in the West Norwood Cemetery. Furneaux Cook at Who Was Who in the DOyly Carte Ainger, Gilbert and Sullivan, a Dual Biography
12.
C. Hayden Coffin
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Charles Hayden Coffin was an English actor and singer known for his performances in many famous Edwardian musical comedies, particularly those produced by George Edwardes. Hayden achieved fame as Harry Sherwood in Dorothy, which became the longest-running piece of theatre in history up to that time. In his later years, Coffin found success in Shakespearean roles such as Feste in Twelfth Night, and in musicals and his parents were from Maine in the U. S. and his father was a dentist. Coffin passed the examinations to enter the College of Surgeons. He then played Coriolon in Lily of Leoville by Ivan Caryll, Coffin rose to fame as Harry Sherwood in Alfred Cellier and B. C. Stephensons record-setting hit Dorothy, in which he introduced the popular song, Coffins good looks and powerful voice made him one of the most popular stage baritones of the late 19th and early 20th centuries. Early in his career, he also had successes with the same teams Doris, Solomon and Henry Pottinger Stephens The Red Hussar, burnands adaptation of Edmond Audrans La Cigale, and Captain Therese, among others. He spent the 1892–93 season in New York City co-starring in several productions with soprano Lillian Russell and he also starred in a number of pantomimes. Coffin returned to London in 1893 to star in a series of hit Edwardian musical comedies produced by George Edwardes and composed by Sidney Jones and he also starred in Veronique, as Charlie Chetwynd in The Girl Behind the Counter and in the title role in Tom Jones. Coffin had a brief London run and tour in Two Merry Monarchs as Prince Charmis and then played Captain Charteris in another hit, in his later years, Coffin turned to serious drama, including Shakespearean roles, such as Feste in Twelfth Night at the Savoy Theatre in 1912. He also made appearances in musicals such as Young England. He made several films until 1930, including Its Always the Woman, in 1929, he played Sir Harry Bumper in The School for Scandal at the Kingsway Theatre, repeating the role in the 1930 film adaptation. Coffin was first engaged to the songwriter Hope Temple but married actress Adeline de Leuw, Coffin died in London at the age of 73. Coffin made a number of records for the Gramophone Company, as follows. 2-4385 Young Fresh England Young England in ensemble,10, coupled on E35, Young England, 1916–17,12, coupled on D200. Hayden Coffins Book, Packed with Acts and Facts
13.
Lillian Russell
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Lillian Russell, born Helen Louise Leonard, was an American actress and singer. She became one of the most famous actresses and singers of the late 19th and early 20th centuries, known for her beauty and style, as well as for her voice, Russell was born in Clinton, Iowa but raised in Chicago. Her parents separated when she was eighteen, and she moved to New York with her mother and she began to perform professionally by 1879, singing for Tony Pastor and playing roles in comic opera, including Gilbert and Sullivan works. Composer Edward Solomon created roles in several of his comic operas for her in London, in 1884, they returned to New York and married in 1885, but, in 1886 Solomon was arrested for bigamy. For many years, she was the foremost singer of operettas and musical theatre in the United States, in 1899, she joined the Weber and Fields Music Hall, where she starred for five years. After 1904, she began to have difficulties and switched to dramatic roles. She later returned to roles in vaudeville, however, finally retiring from performing around 1919. Russell was married four times, but her longest relationship was with Diamond Jim Brady, in later years, Russell wrote a newspaper column, advocated womens suffrage, was a popular lecturer and contributed to the passage of the restrictive Immigration Act of 1924. Her family moved to Chicago in 1865, where she studied at the Convent of the Sacred Heart from age 7 to 15 and her father became a partner in the printing firm of Knight & Leonard, and her mother became active in the womens rights movement. Russell, called Nellie as a child, excelled at school theatricals, in her teens, she studied music privately and sang in choirs. In December 1877, she performed in a production of Time Tries All at Chickering Hall in Chicago. When Russell was eighteen, her parents separated, and she, her mother and her sister moved to New York City. Russell studied singing under Leopold Damrosch and considered pursuing a career, her very religious mother disapproved of her working in theatre. Russell began dating Walter Sinn, whose father owned the Brooklyn Park Theatre. Walters mother helped Russell get a job with Edward E. Rice. Russell soon began seeing the orchestra leader, Harry Braham, and they married in November, when the show moved to New York theatres. She gave birth to a son, Harry, in June 1880, in September, Russells husband got a prestigious job conducting at Tony Pastors Theatre on Broadway. Pastor, known as the father of vaudeville, was responsible for introducing many well-known performers, in November 1880, Russell was engaged by Pastor for his variety shows
14.
The Sorcerer
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The Sorcerer is a two-act comic opera, with a libretto by W. S. Gilbert and music by Arthur Sullivan. It was the British duos third operatic collaboration, the plot of The Sorcerer is based on a Christmas story, An Elixir of Love, that Gilbert wrote for The Graphic magazine in 1876. A young man, Alexis, is obsessed with idea of love levelling all ranks, to promote his beliefs, he invites the proprietor of J. W. Wells & Co. Family Sorcerers, to brew a love potion and this causes everyone in the village to fall in love with the first person they see and results in the pairing of comically mismatched couples. In the end, Wells must sacrifice his life to break the spell, the opera opened on 17 November 1877 at the Opera Comique in London, where it ran for 178 performances. It was considered a success by the standards of that time and encouraged the collaborators to write their next opera, the Sorcerer was revised for an 1884 revival, and it is in that version that it is usually performed today. The Sorcerer was the first Savoy opera for which the author and composer had nearly total control over the production, several of the actors chosen went on to create principal roles in most of the later Gilbert and Sullivan operas. The modest success of The Sorcerer was overshadowed by the popularity of Gilbert and Sullivans later collaborations. The satire in the piece concerns Victorian-era class distinctions and operatic conventions with which audiences are less familiar. Nevertheless, the opera was important to the development of the Gilbert, in 1871, W. S. Gilbert and Arthur Sullivan had written Thespis, an extravaganza for the Gaiety Theatres holiday season that did not lead immediately to any further collaboration. Carte was able to bring Gilbert and Sullivan together again to write the piece, called Trial by Jury. The piece was witty, tuneful and very English, in contrast to the bawdy burlesques, Trial by Jury proved even more popular than La Périchole, becoming an unexpected hit, touring extensively and enjoying revivals and a world tour. After the success of Trial by Jury, several attempted to reunite Gilbert and Sullivan. Gilbert and Sullivan continued their careers, though both continued writing light opera. Finally, in 1877, Carte organised a syndicate of four financiers and formed the Comedy Opera Company, by July 1877, Gilbert and Sullivan were under contract to produce a two-act opera. They chose talented actors, most of whom were not well-known stars, and so did not command high fees, Then, they tailored their work to the particular abilities of these performers. Carte approached Mrs Howard Paul to play the role of Lady Sangazure in the new opera, Mr and Mrs Howard Paul had operated a small touring company booked by Cartes agency for many years, but the couple had recently separated. She conditioned her acceptance of the part on the casting of her 24-year-old protege, when Barrington auditioned before W. S. Barrington was given the role of Dr Daly, the vicar, which was his first starring role on the London stage
15.
Gilbert and Sullivan
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Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the librettist W. S. Gilbert and the composer Arthur Sullivan and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H. M. S, Pinafore, The Pirates of Penzance and The Mikado are among the best known. Sullivan, six years Gilberts junior, composed the music, contributing memorable melodies that could convey both humour and pathos and their operas have enjoyed broad and enduring international success and are still performed frequently throughout the English-speaking world. Gilbert and Sullivan introduced innovations in content and form that influenced the development of musical theatre through the 20th century. The operas have influenced political discourse, literature, film. Producer Richard DOyly Carte brought Gilbert and Sullivan together and nurtured their collaboration and he built the Savoy Theatre in 1881 to present their joint works and founded the DOyly Carte Opera Company, which performed and promoted Gilbert and Sullivans works for over a century. Gilbert was born in London on 18 November 1836 and his father, William, was a naval surgeon who later wrote novels and short stories, some of which included illustrations by his son. Director and playwright Mike Leigh described the Gilbertian style as follows, With great fluidity and freedom, First, within the framework of the story, he makes bizarre things happen, and turns the world on its head. Thus the Learned Judge marries the Plaintiff, the soldiers metamorphose into aesthetes, and so on and his genius is to fuse opposites with an imperceptible sleight of hand, to blend the surreal with the real, and the caricature with the natural. In other words, to tell a perfectly outrageous story in a deadpan way. Gilbert developed his theories on the art of stage direction. At the time Gilbert began writing, theatre in Britain was in disrepute, Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or entertainments, for Thomas German Reed. At a rehearsal for one of these entertainments, Ages Ago, the composer Frederic Clay introduced Gilbert to his friend, two years later, Gilbert and Sullivan would write their first work together. Those two intervening years continued to shape Gilberts theatrical style, Sullivan was born in London on 13 May 1842. His father was a bandmaster, and by the time Arthur had reached the age of eight. In school he began to compose anthems and songs, in 1856, he received the first Mendelssohn Scholarship and studied at the Royal Academy of Music and then at Leipzig, where he also took up conducting. His graduation piece, completed in 1861, was a suite of music to Shakespeares The Tempest. Revised and expanded, it was performed at the Crystal Palace in 1862 and was an immediate sensation and he began building a reputation as Englands most promising young composer, composing a symphony, a concerto, and several overtures, among them the Overture di Ballo, in 1870
16.
Savoy opera
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Savoy opera was a style of comic opera that developed in Victorian England in the late 19th century, with W. S. Gilbert and Arthur Sullivan as the original and most successful practitioners. The name is derived from the Savoy Theatre, which impresario Richard DOyly Carte built to house the Gilbert and Sullivan pieces, and later, the Savoy operas were seminal influences on the creation of the modern musical. Most of the literature on Gilbert and Sullivan since that time refers to these works as Savoy Operas, comic operas. However, the Penguin Opera Guides and many other general music dictionaries and encyclopedias classify the Gilbert, to their contemporaries, the term Savoy Opera referred to any opera that appeared at that theatre, regardless of who wrote it. Aside from curtain raisers, the G&S operas were the works produced at the Savoy Theatre from the date it opened until The Gondoliers closed on 20 June 1891. Over the next decade, there were two new G&S pieces, both of which had comparatively brief runs. To fill the gap, Carte mounted G&S revivals, Sullivan operas with different librettists, Richard DOyly Carte died on 3 April 1901. If the nexus of Carte and the Savoy Theatre is used to define Savoy Opera, then the last new Savoy Opera was The Rose of Persia, after Cartes death, his wife Helen Carte assumed management of the theatre. She continued to new pieces in the G&S style, along with G&S revivals. Counting the pieces that Mrs. DOyly Carte and the DOyly Carte Opera Company produced, the last Savoy Opera was A Princess of Kensington and this is the point that Cyril Rollins and R. John Witts adopt as the end of the Savoy Operas. Workman assumed control of the theatre, producing three new pieces, including one by Gilbert himself, Fallen Fairies. The last of these Workman-produced works came in early 1910, Two Merry Monarchs, by Arthur Anderson, George Levy, the contemporary press referred to these works as Savoy Operas, and S. J. Adair Fitz-Gerald regarded Workmans pieces as the last Savoy Operas. Fitz-Gerald wrote his book, The Story of the Savoy Opera, in 1924, but over time, all of the works produced at the Savoy by composers and librettists other than Gilbert and Sullivan were largely forgotten. The term Savoy Opera came to be synonymous with the thirteen extant works of Gilbert, given its lack of a DOyly Carte or Savoy connection, Thespis has a tenuous claim to be a Savoy Opera. However, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith, the following table shows all of the full-length operas that could be considered Savoy Operas under any of the definitions mentioned above. Curtain-raisers and afterpieces that played with the Savoy Operas are included in the table below. The fashion in the late Victorian era and Edwardian era was to present long evenings in the theatre, during the original runs of the Savoy Operas, each full-length work was normally accompanied by one or two short companion pieces. A piece that began the performance was called a curtain raiser, W. J. MacQueen-Pope commented, concerning the curtain raisers, This was a one-act play, seen only by the early comers
17.
The Gondoliers
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The Gondoliers, or, The King of Barataria is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 7 December 1889 and ran for a very successful 554 performances and this was the twelfth comic opera collaboration of fourteen between Gilbert and Sullivan. The story of the concerns the young bride of the heir to the throne of the fictional kingdom of Barataria who arrives in Venice to join her husband. It turns out, however, that he cannot be identified, to complicate matters, the King of Barataria has just been killed. The two young gondoliers must now jointly rule the kingdom until the nurse of the prince can be brought in to determine which of them is the rightful king. Moreover, when the queen arrives to claim her husband. A last complicating factor is that she, herself, is in love with another man, the Gondoliers was Gilbert and Sullivans last great success. In this opera, Gilbert returns to the satire of class distinctions figuring in many of his earlier librettos, the Gondoliers was preceded by the most serious of the Gilbert and Sullivan collaborations, The Yeomen of the Guard. Moreover, to speak from my own point of view. Anybody — Hersee, Farnie, Reece — can write a libretto for such a purpose, personally. Again, the success of the Yeoman — which is a step in the direction of serious opera — has not been so convincing as to warrant us in assuming that the public want something more earnest still. On 12 March, Sullivan responded, I have lost the liking for writing comic opera and you say that in a serious opera, you must more or less sacrifice yourself. I say that this is just what I have been doing in all our joint pieces, Gilbert tried to encourage his collaborator, You say that our operas are Gilberts pieces with music added by you. Sullivans acceptance came with the proviso that we are agreed upon the subject. Can you not develop this with something we can go into with warmth and enthusiasm and thus give me a subject in which we can both be interested. The long opening number was the idea, and it gave Sullivan the opportunity to establish the mood of the work through music. The costumes were designed by Percy Anderson and sets were by Hawes Craven and they worked all summer and autumn, with a successful opening on 7 December 1889. Press accounts were almost entirely favourable, and the opera enjoyed a run longer than any of their joint works except for H. M. S
18.
Topsyturveydom
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Topsyturveydom is a one-act operetta by W. S. Gilbert with music by Alfred Cellier. Styled an entirely original musical extravaganza, it is based on one of Gilberts Bab Ballads and it opened on 21 March 1874 at the Criterion Theatre in London and ran until 17 April, for about 25 performances. The musical score to Topsyturveydom does not survive, but amateur productions in recent decades have used newly composed scores or performed the work as a non-musical play, topsyturveydom is set in a quasi-utopia, where things are the opposite of the norm. Party politics is lampooned, much as it would be two decades later in Gilbert and Sullivans Utopia, Limited, as in that work, the king is a detested monarch. 1874 was a year for both Gilbert and Cellier. An adaptation from the French, Committed for Trial, another adaptation from the French called The Blue-Legged Lady, and he also wrote a Bab-illustrated story called The Story of a Twelfth Cake for the Graphic Christmas number. Cellier produced his most successful work, a full length comic opera called The Sultan of Mocha. Gilbert was either too busy to see his own show, or else, disappointed by its lack of success with audiences, he had put it out of his mind. In a letter to T. Edgar Pemberton, author of the 1903 book on the Criterion Theatre, Gilbert wrote, I am sorry to say that in my mind is an absolute blank to the opening of The Criterion. If you happen to have a copy of it and could lend it to me for a few hours it might suggest some reminiscences, the Athenaeum called the piece clever, but rather remote. An exercise rather than an amusement and his dramatic writing during this time was evolving from his early musical burlesques. Some of his work during this period exhibited a more restrained style, exemplified by a series of fairy comedies. Mr. Satis – J. Clarke King Patatra – F. Dewar Crapolee – E. W. Garden Wilkins – Mr. Smith Quop – Miss Montgomery Crambo – Miss C, however, this may be another Topsyturvey element. The Prime Minister of Topsyturveydom arrives at the home of old Satis and he describes his country as a land where everything is conducted on principles the very reverse of those in England. The people are born elderly and grow younger until they become infants and they start out wise and gradually forget everything, until at last their minds are a perfect blank. Folly is honoured, wisdom is despised, true beauty consists in making yourself ugly and he has been comparing customs in the two countries and invites Satis to accompany him to Topsyturveydom. From inside the Kings reception room in Topsyturvydom, a landscape is seen through the window. A chandelier sprouts from the middle of the floor, and chairs, a ridiculous celebration has been planned, for the king is coming of age
19.
Dorothy (opera)
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Dorothy is a comic opera in three acts with music by Alfred Cellier and a libretto by B. C. The story involves a rake who falls in love with his disguised fiancée and it was first produced at the Gaiety Theatre in London on in 1886. After a rocky start, it was revised and transferred to the Prince of Wales Theatre later that year and then transferred to the Lyric Theatre in 1888, Dorothy also toured in Britain, America and Australia and enjoyed numerous revivals until at least 1908. The piece was popular with theatre groups, particularly in Britain. The shows hit songs included the ballad Queen of My Heart, Be Wise In Time, with A Welcome To All, and The Time Has Come. Its libretto is more farcical than W. S. Gilberts satiric libretti, revolving around mistaken identities, in 1885, Cellier had composed a song, There once was a time, my darling, for a piece produced by Edwardes, Little Jack Sheppard. Cellier, who had been a lieutenant of Arthur Sullivan, re-purposed much of the music for Dorothy from his comic opera of ten years earlier. Though a flop, the music of Nell Gwynne had been praised, Stephenson wrote new lyrics and a libretto to fit the music. Shortly before the première, Celliers doctors advised him not to spend the winter in England, the sheet music sold over 40,000 copies, and the popularity of the song saved the opera from failure. The piece opened at the Gaiety Theatre on 25 September 1886 and it starred Marion Hood in the title role opposite the popular Hayden Coffin, with comedians Arthur Williams, Furneaux Cook and John Le Hay. This was the first production at the Gaiety by new managing director of the theatre, George Edwardes, the Gaiety was then known for burlesque, and its audiences were not looking for Gilbert and Sullivan style comic opera. The piece received lukewarm notices, and neither the nor the libretto attracted critical praise. The Times wrote, Gentility reigns supreme, and with it also a good deal of the refined feebleness. After a few months, Edwardes sold the production to his accountant, the piece reopened at the Prince of Wales Theatre on 20 December 1886 and transferred to the Lyric Theatre on 17 December 1888, where it closed on 6 April 1889. Marie Tempest took over in the role, and Florence Perry made her London stage debut in 1887 in the role of Phyllis Tuppitt. It was also the second longest known run for a production of any kind, after Our Boys. The shows hit songs included the ballad Queen of My Heart, Be Wise In Time, with A Welcome To All, and The Time Has Come. Henry Leslie made so much money from Dorothy that he was able to build the Lyric Theatre, the success of the show also spurred revivals of some of Celliers earlier works
20.
The Mikado
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The Mikado, or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. Before the end of 1885, it was estimated that, in Europe and America, the Mikado remains the most frequently performed Savoy Opera, and it is especially popular with amateur and school productions. The work has translated into numerous languages and is one of the most frequently played musical theatre pieces in history. Setting the opera in Japan, a locale far away from Britain, allowed Gilbert to satirise British politics. Gilbert and Sullivans opera immediately preceding The Mikado was Princess Ida, which ran for nine months, on 22 March 1884, Carte gave Gilbert and Sullivan contractual notice that a new opera would be required within six months. Sullivans close friend, the conductor Frederic Clay, had suffered a stroke in December 1883 that effectively ended his career. Gilbert, who had started work on a new libretto in which people fall in love against their wills after taking a magic lozenge, was surprised to hear of Sullivans hesitation. Gilbert was much hurt, but Sullivan insisted that he could not set the lozenge plot, in addition to the improbability of it, it was too similar to the plot of their 1877 opera, The Sorcerer. Sullivan returned to London, and, as April wore on, Gilbert tried to rewrite his plot, but he could not satisfy Sullivan. However, by 8 May 1884, Gilbert was ready to back down, writing, am I to understand that if I construct another plot in which no element occurs. A consistent plot, free from anachronisms, constructed in perfect good faith & to the best of my ability, the stalemate was broken, and on 20 May, Gilbert sent Sullivan a sketch of the plot to The Mikado. It would take ten months for The Mikado to reach the stage. A revised version of their 1877 work, The Sorcerer, coupled with their one-act piece Trial by Jury, played at the Savoy while Carte, Gilbert eventually found a place for his lozenge plot in The Mountebanks, written with Alfred Cellier in 1892. A trifling accident inspired him with an idea, One day an old Japanese sword that, for years, had been hanging on the wall of his study, fell from its place. This incident directed his attention to Japan, Just at that time a company of Japanese had arrived in England and set up a little village of their own in Knightsbridge. The story is an one, but it is largely fictional. Gilbert was interviewed twice about his inspiration for The Mikado, in both interviews the sword was mentioned, and in one of them he said it was the inspiration for the opera, although he never said that the sword had fallen. Gilbert scholar Brian Jones, in his article The Sword that Never Fell, notes that the further removed in time the writer is from the incident and it suggested the broad idea, as he said later
21.
John D'Auban
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Frederick John DAuban was an English dancer, choreographer and actor of the Victorian and Edwardian eras. Famous during his lifetime as the ballet-master at the Theatre Royal, Drury Lane, he is best remembered as the choreographer of many of the Gilbert, after performing as a child with his family, DAuban continued a career as a comic dancer in music hall and pantomime. He also served as master for the Alhambra Theatre, the Gaiety Theatre, London. In 1868, he began an association with W. S. Gilbert, staging the dances for most of the original productions of the Gilbert and Sullivan operas. Pinafore and The Mikado, as well as many other Savoy operas, between the 1860s and 1909, DAuban choreographed more than 150 productions, including pantomimes, burlesques, musical comedies and comic operas. He also taught dance to many who became famous performers, as adults, he and his sister appeared together in a comic dance double act at the Crystal Palace in 1863. They appeared together in a Harlequinade at the opening of the Surrey Theatre, as Harlequin and Columbine and they repeated their Harlequinade with variations during the Christmas seasons of 1868,1869 and 1871. DAuban quickly became popular as a dancer and star-trap performer in London music halls early in his career. From 1865 to 1868, he danced in many of the Alhambra Theatre burlesques and pantomimes under director John Hollingshead and he made a sensation in Paris in 1866, introducing that city to the star-trap. According to Hollingshead, DAuban was the champion of star-trap jumpers, able to spring through the trap, from below the stage, the other was John Warde, elder brother of Willie Warde. DAuban and John Warde were billed as the theatres principal grotesque dancers, DAuban then acted as ballet-master at the Gaiety, choreographing its famous burlesques, until 1891. In 1870 and in 1875 at the Gaiety, DAuban choreographed Charles Dibdins musical farce, from 1868 to 1909, DAuban arranged the dances for more than 150 productions in the West End, at 30 different theatres. DAuban married Wardes sister, Emma, in 1871, with whom he also performed, the next Christmas, DAuban and Warde appeared together as the eponymous Valentine and Orson at the Elephant and Castle Theatre. At the Gaiety, DAuban appeared in and choreographed Fiz-Gig, a new ballet in 1874. In 1876, DAuban arranged the dances for the Gilbert and Frederic Clay comic opera Princess Toto, in 1877, DAuban began working with Richard DOyly Carte, Gilbert and Arthur Sullivan by arranging the dances for their comic opera The Sorcerer. In 1878, DAuban trained Gilbert in his dances as Harlequin for the Harlequinade section of The Forty Thieves, DAuban arranged the dances for the next Gilbert and Sullivan opera, H. M. S. For the Christmas season in 1879, he choreographed the extravaganza burlesque of Gullivers Travels by H. J. Byron at the Gaiety. In 1880, DAuban choreographed and appeared with his wife and sister in E. L. Blanchards pantomime of Mother Goose at the Theatre Royal, Drury Lane
22.
Percy Anderson
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Beginning with The Yeomen of the Guard, Anderson designed the costumes for all the original productions of the Savoy Operas. He continued to design costumes for DOyly Carte revivals in the twentieth century, including for Trial by Jury. Pinafore, The Pirates of Penzance, Patience, Iolanthe, Princess Ida, Ruddigore, The Yeomen of the Guard and he designed the costumes for Henry James’s ill-fated theatrical effort, Guy Domville, The Times was not impressed by either the play or the costumes. He designed the costumes for the hit musical San Toy in 1899, The Duchess of Dantzic in 1903, the Royal Opera House also commissioned Anderson to design costumes in 1900. Andersons designs were used in a number of Broadway productions. Described as a dainty, naughty, rococo man, Anderson had private means, and for a time roomed with Morton Fullerton and he was part of a circle of rich, artistic homosexual men, who included Lord Ronald Gower, the courtier Alec Yorke and Hamilton Aïdé. In the 1910s, Anderson was closely associated with the young novelist Hugh Walpole, as a painter, Anderson achieved a modest success, and his portraits hang in the collections of the National Portrait Gallery, the Louvre, and the British Museum. He illustrated the 1907 book, Costume, Fanciful, Historical and Theatrical, Anderson died in Kings College Hospital, London, in 1928, aged 76 or 77. Hugh Walpole Sutton Publishing, Stroud, ISBN 0-7509-1491-2 Mainwaring, Marion, mysteries of Paris, the Quest for Morton Fullerton, University of New England Press,2001 Rollins, Cyril and R. John Witts. The DOyly Carte Opera Company in Gilbert and Sullivan Operas London, Michael Joseph Ltd
23.
Manchester
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Manchester is a major city and metropolitan borough in Greater Manchester, England, with a population of 514,414 as of 2013. It lies within the United Kingdoms second-most populous urban area, with a population of 2.55 million, Manchester is fringed by the Cheshire Plain to the south, the Pennines to the north and east and an arc of towns with which it forms a continuous conurbation. The local authority is Manchester City Council and it was historically a part of Lancashire, although areas of Cheshire south of the River Mersey were incorporated during the 20th century. Throughout the Middle Ages Manchester remained a township but began to expand at an astonishing rate around the turn of the 19th century. Manchesters unplanned urbanisation was brought on by a boom in textile manufacture during the Industrial Revolution, Manchester achieved city status in 1853. The Manchester Ship Canal opened in 1894, creating the Port of Manchester and its fortunes declined after the Second World War, owing to deindustrialisation. The city centre was devastated in a bombing in 1996, but it led to extensive investment, in 2014, the Globalization and World Cities Research Network ranked Manchester as a beta world city, the highest-ranked British city apart from London. Manchester is the third-most visited city in the UK and it is notable for its architecture, culture, musical exports, media links, scientific and engineering output, social impact, sports clubs and transport connections. Manchester Liverpool Road railway station was the worlds first inter-city passenger railway station and in the city scientists first split the atom, the name Manchester originates from the Latin name Mamucium or its variant Mancunium and the citizens are still referred to as Mancunians. These are generally thought to represent a Latinisation of an original Brittonic name, both meanings are preserved in languages derived from Common Brittonic, mam meaning breast in Irish and mother in Welsh. The suffix -chester is a survival of Old English ceaster and their territory extended across the fertile lowland of what is now Salford and Stretford. Central Manchester has been settled since this time. A stabilised fragment of foundations of the version of the Roman fort is visible in Castlefield. After the Roman withdrawal and Saxon conquest, the focus of settlement shifted to the confluence of the Irwell, much of the wider area was laid waste in the subsequent Harrying of the North. Thomas de la Warre, lord of the manor, founded and constructed a church for the parish in 1421. The church is now Manchester Cathedral, the premises of the college house Chethams School of Music. The library, which opened in 1653 and is open to the public today, is the oldest free public reference library in the United Kingdom. Manchester is mentioned as having a market in 1282, around the 14th century, Manchester received an influx of Flemish weavers, sometimes credited as the foundation of the regions textile industry
24.
D'Oyly Carte Opera Company
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The company was revived for short seasons and tours from 1988 to 2003, and with Scottish Opera it later co-produced two productions. In 1875, Richard DOyly Carte asked the dramatist W. S. Gilbert, when that work, Trial by Jury, became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work, The Sorcerer, followed by H. M. S. After Pinafore became a sensation, Carte jettisoned his difficult investors and formed a new partnership with Gilbert. The company produced the succeeding ten Gilbert and Sullivan operas and many operas and companion pieces at the Savoy Theatre in London. The company also mounted tours in Britain, New York and elsewhere, Cartes able assistant, Helen Lenoir, became his wife in 1888 and, after his death in 1901, she ran the company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company, Cartes son Rupert inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain, with the help of the director J. M. Gordon and the conductor Isidore Godfrey, Carte ran the company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular, after Ruperts death in 1948, his daughter Bridget DOyly Carte inherited the company and hired Frederic Lloyd as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and it re-formed in 1988 with a legacy left by Bridget DOyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from the English Arts Council, it suspended productions in 2003, with Scottish Opera, it co-produced The Pirates of Penzance 2013 and The Mikado in 2016. Some of the performers, over the decades, became stars of their day. The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept the Savoy operas in the eye for over a century and left an enduring legacy of production styles. By 1874, Richard DOyly Carte, a musician and ambitious young impresario, had begun producing operettas in London. He announced his ambitions on the front of the programme for one of his productions that year, in early 1875, Carte was managing Londons Royalty Theatre. Needing a short piece to round out an evenings entertainment featuring the popular Offenbach operetta La Périchole he brought W. S. Gilbert, on tour in 1871, Carte had conducted Arthur Sullivans one-act comic opera Cox and Box, which received an 1874 London revival. In 1873, W. S. Gilbert had offered a libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music. At the Theatre Royal, in Dublin, Ireland in September 1875, while managing the first tour of Trial by Jury, Carte met a young Scottish actress
25.
Cricket
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Cricket is a bat-and-ball game played between two teams of eleven players on a cricket field, at the centre of which is a rectangular 22-yard-long pitch with a wicket at each end. One team bats, attempting to score as many runs as possible, each phase of play is called an innings. After either ten batsmen have been dismissed or a number of overs have been completed, the innings ends. The winning team is the one that scores the most runs, including any extras gained, at the start of each game, two batsmen and eleven fielders enter the field of play. The striker takes guard on a crease drawn on the four feet in front of the wicket. His role is to prevent the ball hitting the stumps by use of his bat. The other batsman, known as the non-striker, waits at the end of the pitch near the bowler. A dismissed batsman must leave the field, and a teammate replaces him, the bowlers objectives are to prevent the scoring of runs and to dismiss the batsman. An over is a set of six deliveries bowled by the same bowler, the next over is bowled from the other end of the pitch by a different bowler. If a fielder retrieves the ball enough to put down the wicket with a batsman not having reached the crease at that end of the pitch. Adjudication is performed on the field by two umpires, the laws of cricket are maintained by the International Cricket Council and the Marylebone Cricket Club. Traditionally cricketers play in all-white kit, but in limited overs cricket they wear club or team colours. In addition to the kit, some players wear protective gear to prevent injury caused by the ball. Although crickets origins are uncertain, it is first recorded in south-east England in the 16th century and it spread globally with the expansion of the British Empire, leading to the first international matches in the mid-19th century. ICC, the governing body, has over 100 members. The sport is followed primarily in Australasia, Britain, the Indian subcontinent, southern Africa, womens cricket, which is organised and played separately, has also achieved international standard. A number of words have been suggested as sources for the term cricket, in the earliest definite reference to the sport in 1598 it is called creckett. One possible source for the name is the Old English cricc or cryce meaning a crutch or staff, in Samuel Johnsons Dictionary, he derived cricket from cryce, Saxon, a stick
26.
J. C. Williamson
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James Cassius Williamson was an American actor and later Australias foremost theatrical manager, founding J. C. Williamson Ltd. Born in Pennsylvania, Williamson moved with his family to Milwaukee and his father died when he was eleven years old. In 1871, he became the leading comedian at the California Theatre in San Francisco, the two found success touring in Australia, and then playing in London, the U. S. and elsewhere in a comedy called Struck Oil. In 1879, Williamson obtained the right to present H. M. S, pinafore and then other Gilbert and Sullivan operas in Australia. He soon formed his Royal Comic Opera Company, irving and Nellie Melba, and becoming known for spectacular, large-scale productions. It also toured and presented shows in London and elsewhere, in 1976, the company closed and leased out its name. Williamson was born in Mercer, Pennsylvania and he was the son of a doctor, James Hezlep Williamson, and his wife Selina. About 1856, the moved to Milwaukee, Wisconsin, where young James appeared in amateur theatricals beginning in 1857. That year, his father died in an accident, in 1861, Williamson worked for the local theatre company of Messrs. Hurd and Perkins as call-boy, general assistant and scenery and props maker, there he made his official stage debut. He later recalled, I used to act in amateur theatricals, I was full of energy and enthusiasm, and did pretty well everything. My mornings were spent in learning fencing and dancing, in the afternoon Id look after the box office, and at evening help the stage manager and take my part – sometimes three or four parts. The next year, he joined the Royal Lyceum Theatre in Toronto, Canada and then moved on to New York where he work as a dialect comedian. From his seven-year apprenticeship there, Williamson emerged with a knowledge of acting, play production. He then played in a comedy at the Theatre Comique in New York under the management of W. H. Lingard. Although Williamson was not a singer, his talent for comedy carried him. Later that month, they starred together in a comedy called Struck Oil in Salt Lake City, Williamson purchased the script for $100 and had it rewritten by his friend Clay M. Greene. The Williamsons then visited Australia, travelling on the S. S. Mikado, in 1874, they opened a season at The Theatre Royal, Melbourne, beginning with Struck Oil, which became an instant success
27.
Greenwich Village
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Greenwich Village, often referred to by locals as simply the Village, is a neighborhood on the west side of Lower Manhattan, New York City. Greenwich Village has been known as a haven, the Bohemian capital, the cradle of the modern LGBT movement. Groenwijck, one of the Dutch names for the village, was Anglicized to Greenwich, two of New Yorks private colleges, New York University and the New School, are located in Greenwich Village. The neighborhoods surrounding it are the East Village and NoHo to the east, SoHo to the south, the East Village was formerly considered part of the Lower East Side and never associated with Greenwich Village. The western part of Greenwich Village is known as the West Village, some believe it starts at Seventh Avenue and its southern extension, a border to the west of which the neighborhood changes substantially in character and becomes heavily residential. The Far West Village is another sub-neighborhood of Greenwich Village that is bordered on its west by the Hudson River and on its east by Hudson Street. Greenwich Village is located in New Yorks 10th congressional district, New Yorks 25th State Senate district, New Yorks 66th State Assembly district, encyclopaedia Britannicas 1956 article on New York states that the southern border of the Village is Spring Street, reflecting an earlier understanding. The newer district of SoHo has since encroached on the Villages historic border, many of the neighborhoods streets are narrow and some curve at odd angles. This is generally regarded as adding to both the character and charm of the neighborhood. In addition, as the meandering Greenwich Street used to be on the Hudson River shoreline, much of the neighborhood west of Greenwich Street is on landfill, but still follows the older street grid. When Sixth and Seventh Avenues were built in the early 20th century, they were built diagonally to the street plan. Unlike the streets of most of Manhattan above Houston Street, streets in the Village typically are named rather than numbered, while some of the formerly named streets are now numbered, they still do not always conform to the usual grid pattern when they enter the neighborhood. The Districts convoluted borders run no farther south than 4th Street or St. Lukes Place, redevelopment in that area is severely restricted, and developers must preserve the main façade and aesthetics of the buildings during renovation. In the 16th century, Native Americans referred to its farthest northwest corner, by the cove on the Hudson River at present-day Gansevoort Street, the land was cleared and turned into pasture by Dutch and freed African settlers in the 1630s, who named their settlement Noortwyck. In the 1630s, Governor Wouter van Twiller farmed tobacco on 200 acres here at his Farm in the Woods, sir Peter Warren began accumulating land in 1731 and built a frame house capacious enough to hold a sitting of the Assembly when smallpox rendered the city dangerous in 1739. The building was designed by Joseph-François Mangin, who would later co-design New York City Hall, by 1821, the prison, designed for 432 inmates, held 817 instead, a number made possible only by the frequent release of prisoners, sometimes as many as 50 a day. The oldest house remaining in Greenwich Village is the Isaacs-Hendricks House, when the Church of St. Luke in the Fields was founded in 1820 it stood in fields south of the road that led from Greenwich Lane down to a landing on the North River. In 1822, a fever epidemic in New York encouraged residents to flee to the healthier air of Greenwich Village
28.
Ramsgate
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Ramsgate is a seaside town in the district of Thanet in east Kent, England. It was one of the great English seaside towns of the 19th century, in 2001 it had a population of around 40,000. Ramsgate’s main attraction is its coastline, and its industries are tourism. The town has one of the largest marinas on the English south coast, Ramsgate began as a fishing and farming hamlet. The Christian missionary St Augustine, sent by Pope Gregory the Great, the town is home to the Shrine of St Augustine. The earliest reference to the town is in the Kent Hundred Rolls of 1274-5, the names Ramisgate and Raunsgate appear in the parish of St. Laurence records circa 1290. These are all derived from late Anglo-Saxon ‘Hremmes’ from earlier ‘Hræfnes’ and ‘geat’, in 1357, the area became known as Ramesgate. Ramsgate was a member of the Confederation of Cinque Ports, under the Limb of Sandwich, the construction of Ramsgate Harbour began in 1749 and was completed in about 1850. The harbour has the distinction of being the only Royal Harbour in the United Kingdom, because of its proximity to mainland Europe, Ramsgate was a chief embarkation point both during the Napoleonic Wars and for the Dunkirk evacuation in 1940. Etc. not forgetting its bracing climate. The streets of Ramsgate are well paved or macadamed and brilliantly lighted with gas. The architect A W Pugin and his sons lived in Ramsgate and built several important buildings there, including St Augustines Church, The Grange, St Augustines Abbey, the artist Vincent Van Gogh moved to Ramsgate in April 1876, at age 23. He boarded at 11 Spencer Square, which is identified by a blue plaque and he obtained work as a teacher at a local school in Royal Road, where he received his post. In one of his letters to his brother Theo, he described his surroundings, There’s a harbour full of all kinds of ships, and further out one sees the sea in its natural state, and that’s beautiful. In 1901, a tram service, one of the few inter-urban tramways in Britain, was introduced on the Isle of Thanet. The towns of Ramsgate, Margate and Broadstairs were linked by 11 miles of track, in 1915–1916, early aircraft began to use the open farmland at Manston as a site for emergency landings. The location near the Kent coast gave Manston some advantages over the previously established aerodromes. During the First World War, Ramsgate was the target of bombing raids by Zeppelin airships, by 1917 the Royal Flying Corps was well established and taking an active part in the defence of Britain. As RAF Manston, the played a important role in the Second World War
29.
Palo Alto, California
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Palo Alto is a charter city located in the northwest corner of Santa Clara County, California, in the San Francisco Bay Area of the United States. The city shares its borders with East Palo Alto, Mountain View, Los Altos, Los Altos Hills, Stanford, Portola Valley and it is named after a coast redwood tree called El Palo Alto. Palo Alto was established by Leland Stanford Sr. when he founded Stanford University, following the death of his son and it has also served as an incubator to several other high-technology companies such as Google, Facebook, Logitech, Intuit, Pinterest, and PayPal. As of the 2010 census, the total resident population is 64,403. Palo Alto is one of the most expensive cities in the United States, the recorded history of Palo Alto dates back to 1769, when Gaspar de Portolá noted an Ohlone settlement. This remains an area of known Indian mounds, a plaque at Middlefield Road and Embarcadero Road commemorates the area. The city got its name from a tall coast redwood tree, named El Palo Alto, a plaque there recounts the story of the Portolà expedition, a 63-man, 200-horse expedition from San Diego to Monterey from November 7–11,1769. The group overshot Monterey in the fog and when they reached modern-day Pacifica, they ascended Sweeney Ridge, thinking the bay was too wide to cross, the group retraced their journey to Monterey, never becoming aware of the Golden Gate entrance to the Bay. Located south of the San Francisquito Creek, west of todays I-280, in 1835, Rafael Soto and family settled near the San Francisquito Creek near Newell and Middlefield, selling goods to travelers. Rafael Soto died in 1839, but his wife, Maria Antonia Mesa, was granted Rancho Rinconada del Arroyo de San Francisquito in 1841, in 1839, their daughter María Luisa Soto married John Coppinger, who was the grantee of Rancho Cañada de Raymundo. Rancho Cañada de Raymundo was West of San Francisquito Creek, and began at Alambique Creek, the border of Rancho Corte de Madera. Bear Gulch Creek flowed on his land in Portola Valley, the rancho also abutted Buelnas grant near Skyline Boulevard and Matadero Creek. Upon Coppingers death, Maria inherited it and later married a visiting boat captain, Greer owned a home on the site that is now Town & Country Village on Embarcadero and El Camino Real. Greer Avenue and Court are named for him, to the west of Rafael Soto, near El Camino and following the Creek, was Rancho San Francisquito granted in 1839 to Antonio Buelna and wife Maria Concepcion. To the south of the Sotos, the brothers Secundino and Teodoro Robles in 1849 bought Rancho Rincon de San Francisquito from José Peña, where the Joness house was, then east down Arastradero Rd. to the north property line of Alta Mesa Memorial Park and Terman Park. The property then went along the bay to the Embarcadero, a boundary in the day, then up to the Stanford University gates, up Galvez. The grant was bounded on the south by Mariano Castros Rancho Pastoria de las Borregas grant across San Antonio Road, thats the Robles Rancho, about 80% of Palo Alto and Stanford University. It was whittled down by 1863 through courts to 6,981 acres, stories say their grand hacienda was built on the former meager adobe of José Peña near Ferne off San Antonio Road, midway between Middlefield and Alma Street
30.
Baritone
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A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice, the baritone voice type is generally divided into the baryton-Martin baritone, lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone. The first use of the term baritone emerged as baritonans, late in the 15th century, at this early stage it was frequently used as the lowest of the voices, but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range as it is today at the beginning of the 18th century. Indeed, many works of the 18th century have roles marked as bass that in reality are low baritone roles. Examples of this are to be found, for instance, in the operas, the greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and these included the likes of Filippo Galli, Giovanni Inchindi, and Henri-Bernard Dabadie. The basse-taille and the bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato-dominated opera seria of the previous century and it led to the baritone being viewed as a separate voice category from the bass. More often than not, however, baritones found themselves portraying villains, the principal composers of bel canto opera are considered to be, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, and the young Giuseppe Verdi. Figaro in Il barbiere is often called the first true baritone role, however, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini and he was a famous Don Giovanni in Mozarts eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, Tamburinis range, however, was probably closer to that of a bass-baritone than to that of a modern Verdi baritone. His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he originated the role of Belcore in Lelisir damore in 1832, the most important of Tamburinis Italianate successors were all Verdians. In France, Paul Barroilhet succeeded Dabadie as the Paris operas best known baritone, like Dabadie, he also sang in Italy and created an important Donizetti role, in his case, Alphonse in La favorite. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I, reveling in comic roles by Rossini, Donizetti and Paer. In 1893, he created the part of Ford in Verdis last opera, notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle, Victor Maurel, Paul Lhérie, and Maurice Renaud
31.
Arthur Playfair
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Arthur Wyndham Playfair was an English actor and singer. Beginning in Victorian burlesque and comic operas, Playfair became known for his roles in Edwardian musical comedy and, later, Playfair was born in Ellichpur, India. He first appeared on the London stage in December 1887 and he created the role of Butler in The Man from Blankleys to much success. In 1911, he starred in the role in Preserving Mr. Panmure. He then starred as Baron Dauvray in The Girl in the Taxi, during World War I he appeared in a series of hit revues. In 1914, he played in the successful The Passing Show at the Palace Theatre, London, followed the year by Bric-a-Brac and in 1916 in Vanity Fair. He appeared in the silent film Judged by Appearances in 1916, in 1917, he appeared in another successful revue, Bubbly, at the Comedy Theatre, London, followed, in 1918–19, by another hit, Tails Up, at the same theatre. Playfair married the actress Lena Ashwell OBE in 1896, he began proceedings in 1903 following her adultery with Robert Taber. Playfair and Ashwell finally divorced in 1908 and he was the cousin of the actor Nigel Playfair. Playfair died aged 48 in 1918 in Brighton, England, Playfair in the National Portrait Gallery Collection Reviews of Playfair at the Footlight Notes site
32.
Tenor
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Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy
33.
Soprano
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A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre
34.
Contralto
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A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto voice type is divided into the coloratura, lyric. Contralto is primarily meaningful only in reference to classical and operatic singing, the term contralto is only applied to female singers, men singing in a similar range are called countertenors. A true contralto is often regarded as the rarest of the female voices, some vocal theorists have found that the vocal folds are thicker than those present in other female voices. Studies have used cameras to photograph visible differences which are found in countertenors. The contralto has the lowest vocal range of the voice types. The contralto voice range is between tenor and mezzo-soprano, although tenors and baritones are usually male singers, some women can sing as low and are called female tenors or female baritones. With the exception of very rare female singers, such terms are usually informal, more formal terminology would be contralto profundo and contralto basso or oktavistka but these are not traditionally named among the fach system. Some of the rare contraltos that can sing the female equivalent of tenor and baritone include Zarah Leander, Ruby Helder, within the contralto voice type category are three generally recognized subcategories, coloratura contralto, lyric contralto, and dramatic contralto. Given its deviations from the norms, this voice type is quite rare. The lyric contralto voice is lighter than a dramatic contralto but not capable of the ornamentation and this class of contralto, lighter in timbre than the others, is the most common today and usually ranges from the E below middle C to the second G above middle C. The dramatic contralto is the deepest, darkest, and heaviest contralto voice, usually having a heavier tone, singers in this class are rare. True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them, a common saying among contraltos is that they may play only witches, bitches, or britches. Examples of contralto roles in the operatic repertoire include the following. * indicates a role that may also be sung by a mezzo-soprano, category of contraltos List of operatic contraltos Fach, the German system for classifying voices Voice classification in non-classical music List of contraltos in non-classical music Coffin, Berton. Coloratura, Lyric and Dramatic Soprano, Vol.1, vocal Workouts for the Contemporary Singer. Media related to Contralto vocalists at Wikimedia Commons The dictionary definition of Contralto at Wiktionary
35.
Mezzo-soprano
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A mezzo-soprano or mezzo is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-sopranos vocal range extends from the A below middle C to the A two octaves above. In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C, the mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano. Mezzo-sopranos are well represented in music, early music. Some roles designated for lighter soubrette sopranos are sung by mezzo-sopranos, such roles include Despina in Mozarts Così fan tutte and Zerlina in his Don Giovanni. Mezzos sometimes play dramatic soprano roles such as Santuzza in Mascagnis Cavalleria rusticana, Lady Macbeth in Verdis Macbeth, the vocal range of the mezzo-sopranos lies between the soprano and the contralto voice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos, the mezzo-soprano voice resonates in a higher range than that of a contralto. The terms Dugazon and Galli-Marié are sometimes used to refer to light mezzo-sopranos, usually men singing within the female range are called countertenors since there is a lighter more breathy tonal quality difference. Within the mezzo-soprano voice type category are three generally recognized subcategories, coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano, a coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the register but also leaps into the upper tessitura with highly ornamented. They have a range from approximately the G below middle C to the B two octaves above middle C, some coloratura mezzo-sopranos can sing up to high C or high D, but this is very rare. What distinguishes these voices from being called sopranos is their extension into the register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, many of the hero roles in the operas of Handel and Monteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his heroines, and Vivaldi wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles, coloratura mezzo-soprano roles in operas, The lyric mezzo-soprano has a range from approximately the G below middle C to the A two octaves above middle C. This voice has a smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for most trouser roles and this voice has less vocal facility than the coloratura mezzo-soprano
36.
Sicily
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Sicily is the largest island in the Mediterranean Sea. It is an autonomous Region of Italy, along with surrounding minor islands, Sicily is located in the central Mediterranean Sea, south of the Italian Peninsula, from which it is separated by the narrow Strait of Messina. Its most prominent landmark is Mount Etna, the tallest active volcano in Europe, the island has a typical Mediterranean climate. The earliest archaeological evidence of activity on the island dates from as early as 12,000 BC. It became part of Italy in 1860 following the Expedition of the Thousand, a revolt led by Giuseppe Garibaldi during the Italian unification, Sicily was given special status as an autonomous region after the Italian constitutional referendum of 1946. Sicily has a rich and unique culture, especially regard to the arts, music, literature, cuisine. It is also home to important archaeological and ancient sites, such as the Necropolis of Pantalica, the Valley of the Temples, Sicily has a roughly triangular shape, earning it the name Trinacria. To the east, it is separated from the Italian mainland by the Strait of Messina, about 3 km wide in the north, and about 16 km wide in the southern part. The northern and southern coasts are each about 280 km long measured as a line, while the eastern coast measures around 180 km. The total area of the island is 25,711 km2, the terrain of inland Sicily is mostly hilly and is intensively cultivated wherever possible. Along the northern coast, the ranges of Madonie,2,000 m, Nebrodi,1,800 m. The cone of Mount Etna dominates the eastern coast, in the southeast lie the lower Hyblaean Mountains,1,000 m. The mines of the Enna and Caltanissetta districts were part of a leading sulphur-producing area throughout the 19th century, Sicily and its surrounding small islands have some highly active volcanoes. Mount Etna is the largest active volcano in Europe and still casts black ash over the island with its ever-present eruptions and it currently stands 3,329 metres high, though this varies with summit eruptions, the mountain is 21 m lower now than it was in 1981. It is the highest mountain in Italy south of the Alps, Etna covers an area of 1,190 km2 with a basal circumference of 140 km. This makes it by far the largest of the three volcanoes in Italy, being about two and a half times the height of the next largest, Mount Vesuvius. In Greek Mythology, the deadly monster Typhon was trapped under the mountain by Zeus, Mount Etna is widely regarded as a cultural symbol and icon of Sicily. The Aeolian Islands in the Tyrrhenian Sea, to the northeast of mainland Sicily form a volcanic complex, the three volcanoes of Vulcano, Vulcanello and Lipari are also currently active, although the latter is usually dormant
37.
Alchemy
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Alchemy is a philosophical and protoscientific tradition practiced throughout Europe, Egypt and Asia. It aimed to purify, mature, and perfect certain objects, the perfection of the human body and soul was thought to permit or result from the alchemical magnum opus and, in the Hellenistic and western tradition, the achievement of gnosis. In Europe, the creation of a stone was variously connected with all of these projects. In English, the term is limited to descriptions of European alchemy, but similar practices existed in the Far East, the Indian subcontinent. In Europe, following the 12th-century Renaissance produced by the translation of Islamic works on science, Islamic and European alchemists developed a structure of basic laboratory techniques, theory, terminology, and experimental method, some of which are still in use today. However, they continued antiquitys belief in four elements and guarded their work in secrecy including cyphers and their work was guided by Hermetic principles related to magic, mythology, and religion. The latter interests historians of esotericism, psychologists, and some philosophers, the subject has also made an ongoing impact on literature and the arts. The word alchemy was borrowed from Old French alquemie, alkimie, taken from Medieval Latin alchymia, the Arabic word is borrowed from Late Greek chēmeía, chēmía, with the agglutination of the Arabic definite article al-. This ancient Greek word was derived from the early Greek name for Egypt, Chēmia, based on the Egyptian name for Egypt, the Medieval Latin form was influenced by Greek chymeia meaning ‘mixture’ and referring to pharmaceutical chemistry. Alchemy covers several philosophical traditions spanning some four millennia and three continents and these traditions general penchant for cryptic and symbolic language makes it hard to trace their mutual influences and genetic relationships. It is still a question whether these three strands share a common origin, or to what extent they influenced each other. Here, elements of technology, religion, mythology, and Hellenistic philosophy, each with their own much longer histories, Zosimos of Panopolis wrote the oldest known books on alchemy, while Mary the Jewess is credited as being the first non-fictitious Western alchemist. They wrote in Greek and lived in Egypt under Roman rule, mythology – Zosimos of Panopolis asserted that alchemy dated back to Pharaonic Egypt where it was the domain of the priestly class, though there is little to no evidence for his assertion. Alchemical writers used Classical figures from Greek, Roman, and Egyptian mythology to illuminate their works and these included the pantheon of gods related to the Classical planets, Isis, Osiris, Jason, and many others. The central figure in the mythology of alchemy is Hermes Trismegistus and his name is derived from the god Thoth and his Greek counterpart Hermes. Hermes and his caduceus or serpent-staff, were among alchemys principal symbols, according to Clement of Alexandria, he wrote what were called the forty-two books of Hermes, covering all fields of knowledge. The Hermetica of Thrice-Great Hermes is generally understood to form the basis for Western alchemical philosophy and practice and these writings were collected in the first centuries of the common era. Technology – The dawn of Western alchemy is sometimes associated with that of metallurgy, Many writings were lost when the emperor Diocletian ordered the burning of alchemical books after suppressing a revolt in Alexandria
38.
Philosopher's stone
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The philosophers stone, or stone of the philosophers is a legendary alchemical substance capable of turning base metals such as mercury into gold or silver. It is also able to extend life and called the elixir of life, useful for rejuvenation and for achieving immortality, for many centuries. The philosophers stone was the symbol of the mystical terminology of alchemy, symbolizing perfection at its finest, enlightenment. Efforts to discover the philosophers stone were known as the Magnum Opus, mention of the philosophers stone in writing can be found as far back as Cheirokmeta by Zosimos of Panopolis. Alchemical writers assign a longer history, elias Ashmole and the anonymous author of Gloria Mundi claim that its history goes back to Adam who acquired the knowledge of the stone directly from God. This knowledge was said to be passed down through biblical patriarchs, the legend of the stone was also compared to the biblical history of the Temple of Solomon and the rejected cornerstone described in Psalm 118. The theoretical roots outlining the stone’s creation can be traced to Greek philosophy, alchemists later used the classical elements, the concept of anima mundi, and Creation stories presented in texts like Platos Timaeus as analogies for their process. According to Plato, the four elements are derived from a source or prima materia. Prima materia is also the name alchemists assign to the ingredient for the creation of the philosophers stone. The importance of this philosophical first matter persisted throughout the history of alchemy, in the seventeenth century, Thomas Vaughan writes, the first matter of the stone is the very same with the first matter of all things. The 8th-century Muslim alchemist Jabir ibn Hayyan analyzed each classical element in terms of the four basic qualities, fire was both hot and dry, earth cold and dry, water cold and moist, and air hot and moist. He theorized that every metal was a combination of four principles. From this premise, it was reasoned that the transmutation of one metal into another could be affected by the rearrangement of its basic qualities and this change would presumably be mediated by a substance, which came to be called al-iksir in Arabic. It is often considered to exist as a dry red powder made from a legendary stone—the philosophers stone, jabirs theory was based on the concept that metals like gold and silver could be hidden in alloys and ores, from which they could be recovered by the appropriate chemical treatment. Jabir himself is believed to be the inventor of aqua regia, in the 11th century, there was a debate among Muslim world chemists on whether the transmutation of substances was possible. Magnus does not confirm he discovered the stone in his writings, the 16th-century Swiss alchemist Paracelsus believed in the existence of alkahest, which he thought to be an undiscovered element from which all other elements were simply derivative forms. Paracelsus believed that element was, in fact, the philosophers stone. A mystical text published in the 17th century called the Mutus Liber appears to be an instruction manual for concocting a philosophers stone
39.
The Times
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The Times is a British daily national newspaper based in London, England. It began in 1785 under the title The Daily Universal Register, the Times and its sister paper The Sunday Times are published by Times Newspapers, since 1981 a subsidiary of News UK, itself wholly owned by News Corp. The Times and The Sunday Times do not share editorial staff, were founded independently and have only had common ownership since 1967 and its news and its editorial comment have in general been carefully coordinated, and have at most times been handled with an earnest sense of responsibility. While the paper has admitted some trivia to its columns, its emphasis has been on important public affairs treated with an eye to the best interests of Britain. To guide this treatment, the editors have for long periods been in touch with 10 Downing Street. In these countries, the newspaper is often referred to as The London Times or The Times of London, although the newspaper is of national scope, in November 2006 The Times began printing headlines in a new font, Times Modern. The Times was printed in broadsheet format for 219 years, the Sunday Times remains a broadsheet. The Times had a daily circulation of 446,164 in December 2016, in the same period. An American edition of The Times has been published since 6 June 2006 and it has been heavily used by scholars and researchers because of its widespread availability in libraries and its detailed index. A complete historical file of the paper, up to 2010, is online from Gale Cengage Learning. The Times was founded by publisher John Walter on 1 January 1785 as The Daily Universal Register, Walter had lost his job by the end of 1784 after the insurance company where he was working went bankrupt because of the complaints of a Jamaican hurricane. Being unemployed, Walter decided to set a new business up and it was in that time when Henry Johnson invented the logography, a new typography that was faster and more precise. Walter bought the patent and to use it, he decided to open a printing house. The first publication of the newspaper The Daily Universal Register in Great Britain was 1 January 1785, unhappy because people always omitted the word Universal, Ellias changed the title after 940 editions on 1 January 1788 to The Times. In 1803, Walter handed ownership and editorship to his son of the same name, the Times used contributions from significant figures in the fields of politics, science, literature, and the arts to build its reputation. For much of its life, the profits of The Times were very large. Beginning in 1814, the paper was printed on the new steam-driven cylinder press developed by Friedrich Koenig, in 1815, The Times had a circulation of 5,000. Thomas Barnes was appointed editor in 1817
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The Palace of Truth
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The play ran for approximately 140 performances and then toured the British provinces and enjoyed various revivals even well into the 20th century. There was also a New York production in 1910, after more than a century of inquiry, researchers in 2012 concluded that the three genera of Lemurs were named after characters in The Palace of Truth in 1870 by British zoologist John Edward Gray. These plays, influenced by the work of James Planché, are founded upon the idea of self-revelation by characters under the influence of some magic or supernatural interference. The Palace of Truth was the first of these, followed by Pygmalion and Galatea, a satire of sentimental, romantic attitudes toward myth, The Wicked World, at the same time, Gilbert wrote some interesting drams, including Sweethearts and Charity. These plays did for Gilbert on the stage what the German Reed Entertainments had done for him on the musical stage. They established that his capabilities extended far beyond burlesque and won him artistic credentials as a writer of wide range, although the play has substantial comic elements, it has the structure and feel of a drama. The play was one of Gilberts most successful works prior to his collaboration with Arthur Sullivan, the play ran for approximately 140 performances at the Haymarket, a long run at the time, and then toured. Gilbert was paid 4 guineas per night until February 1871 and 2 guineas thereafter, on tour, Gilberts royalty was 3 guineas a night. Gilbert and Edward German discussed making The Palace of Truth into an opera, but after the failure of Fallen Fairies, some of the satire of the piece is aimed at musicians. King Phanor, a philanderer, likes yes men – J. B, the Queen is upset because the Princess is to become engaged tomorrow to the Prince but seems not to love him. The Prince speaks flowery words of love to the Princess, the Queen, jealous, wonders why the King visits the Palace of Truth once a month, while she has never been there in eighteen years of marriage. The King reveals that the palace is enchanted, and every visitor there is bound to speak the truth, the speaker is not aware that he is telling the truth, and it is impossible to keep a secret there. The two decide to bring the Prince and Princess there to find out if they love one another. They will also bring all the courtiers, the King tells Gelanor and Mirza that he has a talisman that will keep the holder from having to tell the truth. Act II – Inside the Palace of Truth The King is holding the talisman, everyone else tells the truth, The Princesss singing is terrible, Chrysal did not mean one word that he said at court, Zoram doesnt know one note from another, etc. Chrysal and Zoram declare a duel because of the truth they speak, the Prince confesses that at least 500 ladies have kissed him, among other things, and of course the Princess is unhappy. Azema timidly reveals that she wants to try her charms on the Prince, the Prince rejects her, so Azema tries to charm Chrysal. The Prince decides that the palace must be enchanted and shows up human nature as it is and everybody is affected by it and he tells Mirza that he loves her and then reveals this to the Princess
41.
The Era (newspaper)
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The Era was a British weekly paper, published from 1838 to 1939. Originally a general newspaper, it noted for its sports coverage. The Era was established in 1838 by a body of shareholders consisting of licensed victuallers, the journal was intended to be a weekly organ of the public-house interest, just as the Morning Advertiser was then its daily organ. In the first two or three years of its existence, its stance was broadly Liberal. Its first editor, Leitch Ritchie, proved too liberal for his board of directors, and in addition to editorial clashes, Ritchie was succeeded by Frederick Ledger, who became sole proprietor as well as editor. He edited the paper for more than thirty years, gradually changing its politics from Liberalism to moderate Conservatism, politics, however, ceased to be a major concern of The Era. Its great features after it came into the hands of Ledger were sport, freemasonry, a contemporary observer remarked, To the latter subject it has always devoted a very large part of its space. In relation indeed to the amount and accuracy of its theatrical intelligence, in an 1856 advertisement, The Era claimed to be the largest Newspaper in the World, containing Sixty-four Columns of closely-printed matter in small type. It is the only Weekly Newspaper combining all the advantages of a first-rate Sporting Journal, literature and the Metropolitan and Provincial Drama has more space allotted to them in the Era than in any other Journal. The Operatic and Musical Intelligence, Home and Continental, is always most copious, the Era became regarded as Invaluable for reviews, news, and general theatrical information and gossip. Also of value are the assorted advertisements by and for actors, however, to be seen walking along the street with The Era under the arm, its title displayed for the passer-by to read, proved to all that the person carrying it was a Pro. The Era continued to publish until the beginning of World War II, although its popularity and importance had long since declined
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The Daily Telegraph
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It was founded by Arthur B. Sleigh in 1855 as The Daily Telegraph and Courier, the papers motto, Was, is, and will be, appears in the editorial pages and has featured in every edition of the newspaper since April 19,1858. The paper had a circulation of 460,054 in December 2016 and its sister paper, The Sunday Telegraph, which started in 1961, had a circulation of 359,287 as of December 2016. The Daily Telegraph has the largest circulation for a newspaper in the UK. The two sister newspapers are run separately, with different editorial staff, but there is cross-usage of stories, articles published in either may be published on the Telegraph Media Groups www. telegraph. co. uk website, under the title of The Telegraph. However, critics, including an editor, accuse it of being unduly influenced by advertisers. The Daily Telegraph and Courier was founded by Colonel Arthur B, Sleigh in June 1855 to air a personal grievance against the future commander-in-chief of the British Army, Prince George, Duke of Cambridge. Joseph Moses Levy, the owner of The Sunday Times, agreed to print the newspaper, the paper cost 2d and was four pages long. Nevertheless, the first edition stressed the quality and independence of its articles and journalists, however, the paper was not a success, and Sleigh was unable to pay Levy the printing bill. Levy took over the newspaper, his aim being to produce a newspaper than his main competitors in London. The same principle should apply to all other events—to fashion, to new inventions, in 1876, Jules Verne published his novel Michael Strogoff, whose plot takes place during a fictional uprising and war in Siberia. In 1937, the newspaper absorbed The Morning Post, which espoused a conservative position. Originally William Ewart Berry, 1st Viscount Camrose, bought The Morning Post with the intention of publishing it alongside The Daily Telegraph, for some years the paper was retitled The Daily Telegraph and Morning Post before it reverted to just The Daily Telegraph. As an result, Gordon Lennox was monitored by MI5, in 1939, The Telegraph published Clare Hollingworths scoop that Germany was to invade Poland. In November 1940, with Fleet Street subjected to almost daily bombing raids by the Luftwaffe, The Telegraph started printing in Manchester at Kemsley House, Manchester quite often printed the entire run of The Telegraph when its Fleet Street offices were under threat. The name Kemsley House was changed to Thomson House in 1959, in 1986 printing of Northern editions of the Daily and Sunday Telegraph moved to Trafford Park and in 2008 to Newsprinters at Knowsley, Liverpool. During the Second World War, The Daily Telegraph covertly helped in the recruitment of code-breakers for Bletchley Park, the ability to solve The Telegraphs crossword in under 12 minutes was considered to be a recruitment test. The competition itself was won by F. H. W. Hawes of Dagenham who finished the crossword in less than eight minutes, both the Camrose and Burnham families remained involved in management until Conrad Black took control in 1986
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The Manchester Guardian
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The Guardian is a British daily newspaper, known from 1821 until 1959 as the Manchester Guardian. Along with its sister papers The Observer and The Guardian Weekly, The Guardian is part of the Guardian Media Group, the Scott Trust became a limited company in 2008, with a constitution to maintain the same protections for The Guardian. Profits are reinvested in journalism rather than to the benefit of an owner or shareholders, the Guardian is edited by Katharine Viner, who succeeded Alan Rusbridger in 2015. In 2016, The Guardians print edition had a daily circulation of roughly 162,000 copies in the country, behind The Daily Telegraph. The newspaper has an online UK edition as well as two international websites, Guardian Australia and Guardian US, the newspapers online edition was the fifth most widely read in the world in October 2014, with over 42.6 million readers. Its combined print and online editions reach nearly 9 million British readers, notable scoops include the 2011 News International phone hacking scandal, in particular the hacking of murdered English teenager Milly Dowlers phone. The investigation led to the closure of the UKs biggest selling Sunday newspaper, and one of the highest circulation newspapers in the world, in 2016, it led the investigation into the Panama Papers, exposing the then British Prime Minister David Camerons links to offshore bank accounts. The Guardian has been named Newspaper of the Year four times at the annual British Press Awards, the paper is still occasionally referred to by its nickname of The Grauniad, given originally for the purported frequency of its typographical errors. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle and they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. They do not toil, neither do they spin, but they better than those that do. When the government closed down the Manchester Observer, the champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, the prospectus announcing the new publication proclaimed that it would zealously enforce the principles of civil and religious Liberty. Warmly advocate the cause of Reform, endeavour to assist in the diffusion of just principles of Political Economy and. Support, without reference to the party from which they emanate, in 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828. The working-class Manchester and Salford Advertiser called the Manchester Guardian the foul prostitute, the Manchester Guardian was generally hostile to labours claims. The Manchester Guardian dismissed strikes as the work of outside agitators –, if an accommodation can be effected, the occupation of the agents of the Union is gone. CP Scott made the newspaper nationally recognised and he was editor for 57 years from 1872, and became its owner when he bought the paper from the estate of Taylors son in 1907. Under Scott, the moderate editorial line became more radical, supporting William Gladstone when the Liberals split in 1886
