A Light Opera by Gilbert & Sullivan

Transcription

1 A Light Opera by Gilbert & Sullivan STUDY GUIDE 2014

2 H.M.S. Pinafore by Gilbert & Sullivan Special thanks to: Intermountain Opera Association, Bozeman, Montana Skylight Opera Theatre Guthrie Theater Wendy Monson, Public Schools IOA Liaison Jackie Vick, IOA Executive Director Bozeman Public Schools Fine Arts Department 2

3 Table of Contents Premiere.4 Cast of Characters.4 Plot Synopsis and Musical Highlights 5 Historical Background..10 A Short History of Opera..13 The Operatic Voice...14 Voice Chart 15 Opera Production..16 3

4 Premiere Opera Comique, London, on 25 May 1878 and ran for 571 performances, the secondlongest run of any musical theatre piece up to that time. H.M.S. Pinafore was Gilbert and Sullivan s fourth operatic collaboration and their first international sensation. Cast of Characters The Rt. Hon. Sir Joseph Porter, KCB, First Lord of the Admiralty Captain Corcoran, Commander of H.M.S. Pinafore Ralph Rackstraw, Able Seaman Dick Deadeye, Able Seaman Bill Bobstay, Boatswain s Mate Bob Becket, Carpenter s Mate Josephine, The Captain s Daughter Cousin Hebe, Sir Joseph s First Cousin Mrs. Cripps (Little Buttercup), Portsmouth Bumboat Woman Chorus of First Lord s sisters, His Cousins, His Aunts, Sailors, Marines comic baritone lyric baritone tenor bass-baritone baritone bass soprano mezzo-soprano contralto Music by Arthur Sullivan, Libretti by Sir William Schwenck (W.S.) Gilbert 4

5 PLOT SYNOPSIS AND MUSICAL HIGHLIGHTS The story takes place aboard the British ship HMS Pinafore. The captain's daughter, Josephine, is in love with a lower- class sailor, Ralph Rackstraw, although her father intends her to marry Sir Joseph Porter, the First Lord of the Admiralty. She abides by her father's wishes at first, but Sir Joseph's advocacy of the equality of humankind encourages Ralph and Josephine to overturn conventional social order. They declare their love for each other and eventually plan to elope. The captain discovers this plan, but, as in many of the Gilbert and Sullivan operas, a surprise disclosure changes things dramatically near the end of the story. Act I The British warship H.M.S. Pinafore is at anchor off Portsmouth. The sailors are on the quarterdeck, proudly "cleaning brasswork, splicing rope, etc." Little Buttercup, a Portsmouth "bumboat woman" (dockside vendor) who is the "rosiest, roundest, and reddest beauty in all Spithead" comes on board to sell her wares to the crew. She hints that she may be hiding a dark secret under her "gay and frivolous exterior". Ralph Rackstraw, [32] "the smartest lad in all the fleet", enters, declaring his love for the Captain's daughter, Josephine. His fellow sailors (excepting Dick Deadeye, the grim and ugly realist of the crew) offer their sympathies, but they can give Ralph little hope that his love will ever be returned. Scene from 1886 Savoy Theatre souvenir programme 5

6 The gentlemanly and popular Captain Corcoran greets his "gallant crew" and compliments them on their politeness, saying that he returns the favour by never ("well, hardly ever") using bad language, such as "a big, big D". [33] After the sailors leave, the Captain confesses to Little Buttercup that Josephine is reluctant to consider a marriage proposal from Sir Joseph Porter, the First Lord of the Admiralty. Buttercup says that she knows how it feels to love in vain. As she leaves, the Captain remarks that she is "a plump and pleasing person". Josephine enters and reveals to her father that she loves a humble sailor in his crew, but she assures him that she is a dutiful daughter and will never reveal her love to this sailor. Sir Joseph comes on board, accompanied by his "admiring crowd of sisters, cousins and aunts". He recounts how he rose from humble beginnings to be "ruler of the Queen's Navee" through persistence, although he has no naval qualifications. He then delivers a humiliating lesson in etiquette, telling the Captain that he must always say "if you please" after giving an order; for "A British sailor is any man's equal" excepting Sir Joseph's. Sir Joseph has composed a song to illustrate that point, and he gives a copy of it to Ralph. Shortly afterwards, elated by Sir Joseph's views on equality, Ralph decides that he will declare his love to Josephine. This delights his shipmates, except Dick Deadeye, who contends that "when people have to obey other people's orders, equality's out of the question". Shocked by his words, the other sailors force Dick to listen to Sir Joseph's song before they exit, leaving Ralph alone on deck. Josephine now enters, and Ralph confesses his love in terms surprisingly eloquent for a "common sailor". Josephine is touched, but although she has found Sir Joseph's attentions nauseating, she knows that it is her duty to marry Sir Joseph instead of Ralph. Disguising her true feelings, she "haughtily rejects" Ralph's "proffered love". Ralph summons his shipmates (Sir Joseph's female relatives also arrive) and tells them that he is bent on throwing himself overboard. The crew expresses sympathy, except for Dick, who provides a stark counterpoint of dissent. Ralph puts a pistol to his head, but as he is about to pull the trigger, Josephine enters, admitting that she loves him after all. Ralph and Josephine plan to sneak ashore to elope that night. Dick Deadeye warns them to "forbear, nor carry out the scheme", but the joyous ship's company ignores him. Act II Later that night, under a full moon, Captain Corcoran reviews his concerns: his "kindly crew rebels", his "daughter to a tar is partial", his friends seem to desert him, and Sir Joseph has threatened acourt-martial. Little Buttercup offers sympathy. He tells her that, if it were not for the difference in their social standing, he would have returned her affection. She prophesies that things are not all as they seem and that "a change" is in store for him, but he does not understand her cryptic warning. 6

7 Illustration of the characters in Act II by D. H. Friston, 1878 Sir Joseph enters and complains that Josephine has not yet agreed to marry him. The Captain speculates that she is probably dazzled by his "exalted rank" and that if Sir Joseph can persuade her that "love levels all ranks", she will accept his proposal. They withdraw, and Josephine enters, still feeling guilty about her planned elopement with Ralph and fearful of giving up a life of luxury. When Sir Joseph makes the argument that "love levels all ranks", a delighted Josephine says that she "will hesitate no longer". The Captain and Sir Joseph rejoice, but Josephine is now more determined than ever to marry Ralph. Dick Deadeye intercepts the Captain and tells him of the lovers' plans to elope. The Captain confronts Ralph and Josephine as they try to leave the ship. The pair declare their love, justifying their actions because "He is an Englishman!" The furious Captain is unmoved and blurts out, "Why, damme, it's too bad!" Sir Joseph and his relatives, who have overheard this oath, are shocked to hear swearing on board a ship, and Sir Joseph orders the Captain confined to his cabin. When Sir Joseph asks what had provoked the usually polite officer's outburst, Ralph replies that it was his declaration of love for Josephine. Furious in his turn at this revelation, and ignoring Josephine's plea to spare Ralph, Sir Joseph has the sailor "loaded with chains" and taken to the ship's dungeon. Little Buttercup now comes forward to reveal her long-held 7

8 secret. Many years ago, when she "practised baby-farming", she had cared for two babies, one "of low condition", the other "a regular patrician". She confesses that she "mixed those children up... The wellborn babe was Ralph; your Captain was the other." Sir Joseph now realises that Ralph should have been the Captain, and the Captain should have been Ralph. He summons both, and they emerge wearing one another's uniforms: Ralph as Captain, in command of the Pinafore, and Corcoran as a common sailor. Sir Joseph's marriage with Josephine is now "out of the question" in his eyes: "love levels all ranks... to a considerable extent, but it does not level them as much as that." He hands her to Captain Rackstraw. The former Captain's now-humble social rank leaves him free to marry Buttercup. Sir Joseph settles for his cousin Hebe, and all ends in general rejoicing. Musical numbers OVERTURE Act I 1. "We sail the ocean blue" (Sailors) 2. "Hail! men- o'- war's men"... "I'm called Little Buttercup" (Buttercup) 2a. "But tell me who's the youth" (Buttercup and Boatswain) 3. "The nightingale" (Ralph and Chorus of Sailors) 3a. "A maiden fair to see" (Ralph and Chorus of Sailors) 4. "My gallant crew, good morning" (Captain and Chorus of Sailors) 4a. "Sir, you are sad" (Buttercup and Captain) 5. "Sorry her lot who loves too well" (Josephine) 5a. Cut song: "Reflect, my child" (Captain and Josephine) 6. "Over the bright blue sea" (Chorus of Female Relatives) 7. "Sir Joseph's barge is seen" (Chorus of Sailors and Female Relatives) Rutland Barrington as A.B.S. Corcoran at the end of Pinafore 8. "Now give three cheers" (Captain, Sir Joseph, Cousin Hebe and Chorus) 9. "When I was a lad" (Sir Joseph and Chorus) 9a. "For I hold that on the sea" (Sir Joseph, Cousin Hebe and Chorus) 10. "A British tar" (Ralph, Boatswain, Carpenter's Mate and Chorus of Sailors) 11. "Refrain, audacious tar" (Josephine and Ralph) 12. Finale, Act I: "Can I survive this overbearing?" 8

9 Act II (Entr'acte) 13. "Fair moon, to thee I sing" (Captain) 14. "Things are seldom what they seem" (Buttercup and Captain) 15. "The hours creep on apace" (Josephine) 16. "Never mind the why and wherefore" (Josephine, Captain and Sir Joseph) 17. "Kind Captain, I've important information" (Captain and Dick Deadeye) 18. "Carefully on tiptoe stealing" (Soli and Chorus) 18a. "Pretty daughter of mine" (Captain and Ensemble) and "He is an Englishman" (Boatswain and Ensemble) 19. "Farewell, my own" (Ralph, Josephine, Sir Joseph, Buttercup and Chorus) 20. "A many years ago" (Buttercup and Chorus) 20a. "Here, take her, sir" (Sir Joseph, Josephine, Ralph, Cousin Hebe and Chorus) Finale: "Oh joy, oh rapture unforeseen" (Ensemble) 2 Poster illustration from original 1878 production 9

10 BACKGROUND In 1875, Richard D'Oyly Carte, who was then managing the Royalty Theatre for Selina Dolaro, brought Gilbert and Sullivan together to write their second show, a one- act opera entitled Trial by Jury. [1] This proved a success, and in 1876 D'Oyly Carte assembled a group of financial backers to establish the Comedy Opera Company, which was devoted to the production and promotion of family- friendly English comic opera. [2] With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full- length Gilbert and Sullivan opera. [3] This next opera was The Sorcerer, which opened in November It too was successful, running for 178 performances. [4] Sheet music from the show sold well, and street musicians played the melodies. [5] Instead of writing a piece for production by a theatre proprietor, as was usual in Victorian theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to choose their own cast of performers, rather than being obliged to use the actors already engaged at the theatre. They chose talented actors, most of whom were not well- known stars and did not command high fees, and to whom they could teach a more naturalistic style of performance than was commonly used at the time. They then tailored their work to the particular abilities of these performers. [6] The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as critic Herman Klein wrote: "we secretly marvelled at the naturalness and ease with which [the Gilbertian quips and absurdities] were said and done. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings... [They] conjured into existence a hitherto unknown comic world of sheer delight." [7] Punch cartoon, 1877, portraying First Lord of the Admiralty W. H. Smith as aland- lubber, saying: "I think I'll now go below." In Pinafore, Sir Joseph similarly sings: "When the breezes blow / I generally go below". The success of The Sorcerer paved the way for another collaboration by Gilbert and Sullivan. Carte agreed on terms for a new opera with the Comedy Opera Company, and Gilbert began work on H.M.S. Pinafore before the end of [8] Gilbert's father had been a naval surgeon, and the nautical theme of the opera appealed to him. [9] He drew on several of his earlier "Bab Ballad" poems (many of which also have nautical themes), including "Captain Reece" (1868) and "General John" (1867). [10] Some of the characters also have prototypes in the ballads: Dick Deadeye is based on a character in "Woman's Gratitude" (1869); an early version of Ralph Rackstraw can be seen in "Joe Go- Lightly" (1867), with its sailor madly in love with the daughter of someone who far outranks him; and Little Buttercup is taken almost wholesale from "The Bumboat Woman's Story" (1870). [11][12] On 27 December 1877, while Sullivan was on holiday on the French Riviera, Gilbert sent him a plot sketch accompanied by the following note: [13] 10

11 I have very little doubt whatever but that you will be pleased with it.... there is a good deal of fun in it which I haven't set down on paper. Among other things a song (a kind of 'Judge's Song') for the First Lord tracing his career as office- boy... clerk, traveller, junior partner and First Lord of Britain's Navy... Of course there will be nopersonality in this the fact that the First Lord in the Opera is a Radical of the most pronounced type will do away with any suspicion that W. H. Smith is intended. [13][14] Despite Gilbert's disclaimer, audiences, critics and even the Prime Minister identified Sir Joseph Porter with W. H. Smith (a politician who had recently been appointed First Lord of the Admiralty despite having neither military nor nautical experience). [15] Sullivan was delighted with the sketch, and Gilbert read a first draft of the plot to Carte in mid- January. [16] Following the example of his mentor, T. W. Robertson, Gilbert strove to ensure that the costumes and sets were as realistic as possible. [17] When preparing the sets for H.M.S. Pinafore, Gilbert and Sullivan visited Portsmouth in April 1878 to inspect ships. Gilbert made sketches of H.M.S. Victoryand H.M.S. St Vincent and created a model set for the carpenters to work from. [18] This was far from standard procedure in Victorian drama, in which naturalism was still a relatively new concept, and in which most authors had very little influence on how their plays and libretti were staged. [19] This attention to detail was typical of Gilbert's stage management and would be repeated in all of hissavoy Operas. [20] Gilbert's focus on visual accuracy provided a "right- side- up for topsy- turvydom", that is, a realistic point of reference that serves to heighten the whimsicality and absurdity of the situations. [21] Sullivan was "in the full swing" of work on the piece by the middle of April [22] The bright and cheerful music of Pinafore was composed during a time when Sullivan suffered from excruciating pain from a kidney stone. [23][24] The cast began music rehearsals on 24 April, and at the beginning of May 1878, the two collaborators worked closely together at Sullivan's flat to finalise the piece. [25][26] In Pinafore, Gilbert, Sullivan and Carte used several of the principal cast members that they had assembled for The Sorcerer. As Gilbert had suggested to Sullivan in December 1877, "Mrs. Cripps [Little Buttercup] will be a capital part for Everard... Barrington will be a capital captain, andgrossmith a first- rate First Lord." [13] However, Mrs Howard Paul, [27] who had played Lady Sangazure in The Sorcerer, was declining vocally. She was under contract to play the role of Cousin Hebe in Pinafore. Gilbert made an effort to write an amusing part for her despite Sullivan's reluctance to use her, but by mid- May 1878, both Gilbert and Sullivan wanted her out of the cast; unhappy with the role, she left. With only a week to go before opening night, Carte hired concert singer Jessie Bond to play Cousin Hebe. [28][29] Since Bond had little experience as an actress, Gilbert and Sullivan cut the dialogue out of the role, except for a few lines in the last scene, which they turned into recitative. [30] Other new cast members were Emma Howson and George Power in the romantic roles, who were improvements on the romantic soprano and tenor in The Sorcerer. [12] 11

12 Gilbert acted as stage director for his own plays and operas. He sought realism in acting, just as he strove for realistic visual elements. He deprecated self- conscious interaction with the audience and insisted on a style of portrayal in which the characters were never aware of their own absurdity but were coherent internal wholes. [31] Sullivan conducted the music rehearsals. As was to be his usual practice in his later operas, Sullivan left the overture for the last moment, sketching it out and entrusting it to the company's music director, in this case Alfred Cellier, to complete. [4] Theatre poster,

13 A Short History of Opera The word opera is the plural form of the Latin word opus, which translates quite literally as work. The use of the plural form alludes to the plurality of art forms that combine to create an operatic performance. Today we accept the word opera as a reference to a theatrically based musical art form in which the drama is propelled by the sung declamation of text accompanied by a full symphony orchestra. Opera as an art form can claim its origin with the inclusion of incidental music that was performed during the tragedies and comedies popular during ancient Greek times. The tradition of including music as an integral part of theatrical activities expanded in Roman times and continued throughout the Middle Ages. Surviving examples of liturgical dramas and vernacular plays from Medieval times show the use of music as an insignificant part of the action as do the vast mystery and morality plays of the 15th and 16th centuries. Traditional view holds that the first completely sung musical drama (or opera) developed as a result of discussions held in Florence in the 1570s by an informal academy known as the Camerata which led to the musical setting of Rinuccinií s drama, Dafne, by composer, Jacopo Peri in The work of such early Italian masters as Giulio Caccini and Claudio Monteverdi led to the development of a through-composed musical entertainment comprised of recitative sections (secco and accompagnato) which revealed the plot of the drama; followed by da capo arias which provided the soloist an opportunity to develop the emotions of the character. The function of the chorus in these early works mirrored that of the character of the same name found in Greek drama. The new form was greeted favorably by the public and quickly became a popular entertainment. Opera has flourished throughout the world as a vehicle for the expression of the full range of human emotions. Italians claim the art form as their own, retaining dominance in the field through the death of Giacomo Puccini in Rossini, Bellini, Donizetti, Verdi, and Leoncavallo developed the art form through clearly defined periods that produced opera buffa, opera seria, bel canto, and verismo. The Austrian Mozart also wrote operas in Italian and championed the singspiel (sing play), which combined the spoken word with music, a form also used by Beethoven in his only opera, Fidelio. Bizet (Carmen), Offenbach (Les Contes dí Hoffmann), Gounod (Faust), and Meyerbeer (Les Huguenots) led the adaptation by the French which ranged from the opera comique to the grand full-scale tragedie lyrique. German composers von Weber (Der Freischuẗz), Richard Strauss (Ariadne auf Naxos), and Wagner (Der Ring des Nibelungen) developed diverse forms such as singspiel to through-composed spectacles unified through the use of the leitmotif. The English ballad opera, Spanish zarzuela and Viennese operetta helped to establish opera as a form of entertainment, which continues to enjoy great popularity throughout the world. With the beginning of the 20th century, composers in America diverged from European traditions in order to focus on their own roots while exploring and developing the vast body of the countryí s folk music and legends. Composers such as Aaron Copland, Douglas Moore, Carlisle Floyd, Howard Hanson, and Robert Ward have all crafted operas that have been presented throughout the world to great success. Today, composers John Adams, Philip Glass, and John Corigliano enjoy success both at home and abroad and are credited with the infusion of new life into an art form, which continues to evolve even as it approaches its fifth century. 13

14 The Operatic Voice A true (and brief) definition of the operaticî voice is a difficult proposition. Many believe the voice is born, while just as many hold to the belief that the voice is trained. The truth lies somewhere between the two. Voices that can sustain the demands required by the operatic repertoire do have many things in common. First and foremost is a strong physical technique that allows the singer to sustain long phrases through the control of both the inhalation and exhalation of breath. Secondly, the voice (regardless of its size) must maintain a resonance in both the head (mouth, sinuses) and chest cavities. The Italian word squillo (squeal) is used to describe the brilliant tone required to penetrate the full symphony orchestra that accompanies the singers. Finally, all voices are defined by both the actual voice type and the selection of repertoire for which the voice is idea Within the five major voice types (Soprano, Mezzo- Soprano, Tenor, Baritone, Bass ) there is a further delineation into categories (Coloratura, Lyric, Spinto, and Dramatic ) which help to define each particular instrument. The Coloratura is the highest within each voice type whose extended upper range is complimented by extreme flexibility. The Lyric is the most common of the types. This instrument is recognized more for the exceptional beauty of its tone rather than its power or range. The Spinto is a voice which combines the beauty of a lyric with the weight and power of a Dramatic, which is the most powerful of the voices. The Dramatic instrument is characterized by the combination of both incredible volume and steely intensity. While the definition presented in the preceding paragraph may seem clearly outlined, many voices combine qualities from each category, thus carving a unique niche in operatic history. Just as each person is different from the next, so is each voice. Throughout her career Maria Callas defied categorization as she performed and recorded roles associated with each category in the soprano voice type. Joan Sutherland as well can be heard in recordings of soprano roles as diverse as the coloratura Gilda in Rigoletto to the dramatic Turandot in Turandot. Below is a very brief outline of voice types and categories with roles usually associated with the individual voice type. 14

15 Voice Chart 15

16 Opera Production Opera is created by the combination of myriad art forms. First and foremost are the actors who portray characters by revealing their thoughts and emotions through the singing voice. The next very important component is a full symphony orchestra that accompanies the singing actors and actresses, helping them to portray the full range of emotions possible in the operatic format. The orchestra performs in an area in front of the singers called the orchestra pit while the singers perform on the open area called the stage. Wigs, costumes, sets and specialized lighting further enhance these performances, all of which are designed, created, and executed by a team of highly trained artisans. The creation of an opera begins with a dramatic scenario crafted by a playwright or dramaturg who alone or with a librettist fashions the script or libretto that contains the words the artists will sing. Working in tandem, the composer and librettist team up to create a cohesive musical drama in which the music and words work together to express the emotions revealed in the story. Following the completion of their work, the composer and librettist entrust their new work to a conductor who with a team of assistants (repetiteurs) assumes responsibility for the musical preparation of the work. The conductor collaborates with a stage director (responsible for the visual component) in order to bring a performance of the new piece to life on the stage. The stage director and conductor form the creative spearhead for the new composition while assembling a design team which will take charge of the actual physical production. Set designers, lighting designers, costume designers, wig and makeup designers and even choreographers must all be brought on board to participate in the creation of the new production. The set designer combines the skills of both an artist and an architect using blueprint plans to design the actual physical set which will reside on the stage, recreating the physical setting required by the storyline. These blueprints are turned over to a team of carpenters who are specially trained in the art of stage carpentry. Following the actual building of the set, painters following instructions from the set designers original plans paint the set. As the set is assembled on the stage, the lighting designer works with a team of electricians to throw light onto both the stage and the set in an atmospheric as well as practical way. Using specialized lighting instruments, colored gels and a state of the art computer, the designer along with the stage director create a lighting plot by writing lighting cues which are stored in the computer and used during the actual performance of the opera. During this production period, the costume designer in consultation with the stage director has designed appropriate clothing for the singing actors and actresses to wear. These designs are fashioned into patterns and crafted by a team of highly skilled artisans called cutters, stitchers, and sewers. Each costume is specially made for each singer using his/her individual measurements. The wig and makeup designer, working with the costume designer, designs and creates wigs which will complement both the costume and the singer as well as represent historically accurate period fashions. As the actual performance date approaches, rehearsals are held on the newly crafted set, combined with costumes, lights, and orchestra in order to ensure a cohesive performance that will be both dramatically and musically satisfying to the assembled 16