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The Worlds of Gilbert and Sullivan

There had been the most extraordinary explosion of feelings in the Gilbert, Sullivan, and D'Oyly Carte camp. After the success of The Gondoliers another row blew up, this time about payments for the laying of a carpet in the Savoy Theatre. The resulting attempts at reconciliation went to the courts and bad became worse. In the meantime all their healths were deteriorating and they returned to their previous work.

Arthur turned down an offer from D'Oyly Carte to write music for Jane Annie, a show written by two rising stars: J M Barrie and Conan Doyle. He agreed, however, to set the music for Haddon Hall, by Sydney Grundy. Gilbert got Alfred Cellier (of Dorothy fame) to compose music for his piece of old fashioned nonsense The Mountebanks. Both had a degree of initial success but neither had that lasting quality of the Savoy Operas. 

Haddon Hall is an attractive work by Arthur Sullivan, with a libretto by Sydney Grundy. It has been described as a cross between The Gondoliers and Ivanhoe. It ran for 204 performances in the Savoy Theatre in 1892. And the musical numbers became concert hall successes and hit songs of the day. We have chosen two numbers from the opera: The madrigal, Bloom of May, performed here for the All Seasons edition; and the solo (which replaced a rejected duet), Why weep and wait? (See full site later).

The plot of the opera is set in 1649, a period following the Civil War, of Cavaliers and Roundheads. But the story is of the elopement of Dorothy Vernon from Haddon Hall and her marriage to John Manners. Students of history may suggest we look in the 1560s period for this historical adventure. However, although Sydney and Arthur have taken a few liberties with the historical facts, we can all enjoy the wonderful music they made together. Comments on the historical periods (and any other aspects) of the story welcome . . .

Now let's visit the beautiful Bloom of May

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