The Really Authentic Gilbert and Sullivan Performance Trust (
This joyously sunny work, set in Venice, satirises republican egalitarianism and tells the strange and romantic story of two sturdy Republicans called upon jointly to assume the responsibilities of Monarchy. But which gondolier is really the king? And which boy is married to which girl? A comic Spanish Ducal family, the Plaza-Toros, and a mournful Grand Inquisitor do everything they can to complicate the plot.
In
A strong cast of some of Dunedin's finest performers together with a couple of guest principals from further afield will bring
It was once said of W.B.Yeats. the famous Irish poet, that out of his quarrel with himself he made some of his finest poetry. Does that hold equally true for that peculiar two-headed creative animal, the writer and the composer working together to make an opera or a stage musical? Did Mozart ever quarrel with Da Ponte? Did Rodgers and Hammerstein hurl abuse at each other as they drafted
I don’t know the answer. But what is certain is that Gilbert and Sullivan produced some of their finest work while they bickered with each other, with D'Oyly Carte and his wife Helen darting about trying to play the peacemaker.
After the huge success of
Sullivan's mind was fixed on writing a Grand Opera. After all Queen Victoria herself had suggested that he should do just that. "You ought to write a grand opera, Sir Arthur, you would do it so well." Yet he knew that it was the Savoy operas which brought in the money to support his high style life on the French Riviera and elsewhere. So he suggested that Gilbert write a serious libretto, instead of another Savoy Opera. Gilbert turned the suggestion down flat - "The librettist of a grand opera is always swamped in the composer" - and asked why Sullivan couldn't compose the music for the next Savoy work while writing the Grand Opera he had in mind.
Sullivan bridled and suggested that his music had always come second to Gilbert's libretto. "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." The situation reached crisis point when Sullivan wrote to D'Oyly Carte complaining of the time-wasting way in which Gilbert dominated rehearsal time, reducing himself (Sullivan) to "a mere cipher in the theatre". Carte unwisely showed Gilbert the letter, and there was the inevitable explosion.
Fortunately peace was eventually negotiated without undue loss of face on either side. Carte had begun putting up a new building, the Royal English Opera House, in Shaftesbury Avenue. Who better to write a new work for the grand opening, but that fashionable composer Sir Arthur Sullivan? So Sullivan was commissioned to write his Grand Opera, its libretto (by Julian Sturgis) based on Sir Walter Scott's historical novel
Honour was satisfied. Sullivan thoroughly enjoyed setting Gilbert's sparkling words (Gilbert had been careful to ensure that there were plenty of musical opportunities for the composer), and
The stage triumph at the Savoy worked its usual magic of reconciliation. The partners vied in congratulating themselves and each other. Gilbert declared of Sullivan's score, "It gives one the chance of shining right through the twentieth century with a reflected light". Not to be outdone, Sullivan replied, "In such a perfect book as
Yet this atmosphere of amiable and mutual congratulation was not to last. In a few months' time, the sparks were flying again (a different sort of 'light') in what is now known as the great 'carpet quarrel'. But that, as they say, is another story.
Colin Gibson, your Chairman
All the Venetian girls are much in love with the two gondolieri brothers, Marco and Giuseppe Palmieri who, in a game of blind man's buff, win Gianetta and Tessa for themselves. The Duke and Duchess of Plaza-Toro arrive in Venice from Spain with their daughter, Casilda, who was married in infancy to a young prince who is now King of Barataria and they are seeking information from the Grand Inquisitor as to the young prince's whereabouts. Casilda, however, is secretly in love with Luiz, the Plaza-Toros' drummer-attendant. The Inquisitor reveals that years earlier he had hidden the young prince with the Palmeri family and that because the family father had a taste for the drink he could never tell which boy was his own and they had been mixed up. The only one who can tell the difference is Inez, the prince's foster-mother and Luiz's mother. The two gondoliers and their young lovers' wedding is interrupted by the Inquisitor who explains that either Marco or Giuseppe is now King of Barataria but that until it's established which, they will rule Barataria jointly, but without their wives, who will have to be left behind in Venice.
Three months later, over on the Island of Barataria, the two gondoliers are ruling together on the principle of universal equality. As they have been missing their wives, they are delighted when the girls turn up for a rousing dance.' The Inquisitor arrives on the scene to advise that the new king (whichever he is) was married to Casilda in infancy and that the other is an unintentional bigamist. The ducal party are busy attending functions and advertising products to raise cash. The elderly nurse, Inez, eventually sorts out the problem by revealing that she had swapped her own son for the young prince when traitors had come to steal the latter as a baby and that she brought up the real prince as if he were hers. So Luiz ascends the throne as king with Casilda as his queen and
Saturday 13 November, matinee at 2.30pm and evening at 7.30pm.
The Trust is both excited and challenged by its decision to take
It is a pleasure to welcome back to the
Julian Anderson, who played the comicly gruesome role of Wilfred Shadbolt last year, returns from Christchurch to portray the hen-pecked Duke.
Sandra Shaw Bennett, who has already assumed the roles of Dame Carruthers in
Sandra's daughter, Nadya, an emerging young theatre professional in Dunedin, plays soprano lead, Gianetta, after having shone in
She is joined by another fine young Dunedin singer, Sophie Uden, as Tessa, a mezzo who until now has taken on only chorus or small roles for the Trust (most recently Peep-Bo in
After playing chorus roles a couple of years and the Lieutenant in
As one of the charming gondoliers, baritone Giuseppe, we are delighted to have attracted back an outstanding former star performer for this Trust whose name we are not yet in a position to reveal. Audiences will revel in his trade-mark mature and lively interpretation.
Bridget Telfer as Casilda is a well-known and respected soprano whose talents have hitherto been noticeably absent from the
New to Dunedin but familiar to North American audiences on the professional stage is Andreas Hirt as the Grand Inquisitor. His mature baritone voice is ideally suited to his lugubrious role.
And finally, among the main principals, is this year's guest artist, Michael Warby from Sydney, playing heart-throb young gondolier, Marco. Claiming to be one of the world's only surfing professional tenors, Michael's eyes will sparkle as both Gilbert and Sullivan intended!
Engaged to perform the role of Marco in our production, Australian tenor, Michael Warby, moved from his classical choral and orchestral roots to train in jazz, rock, pop and music theatre before turning to opera. He has worked extensively with Opera Australia, Welsh National Opera and Scottish Opera, and has freelanced with a number of UK touring companies in oratorio, concert and opera.
Now based again in Australia, Michael continues his freelance work with Opera Australia and other seasonal and touring companies. He has also been involved in cabaret and corporate work with such groups as The Australian Tenors, Figaro (an il Divo style crossover group) and his own touring company, Popera Productions.
In recent years Michael has worked with Oz Opera's Schools Company, which is run through Opera Australia. The company performs to over 50,000 children every year throughout NSW, educating and exposing them to the art of theatre, performance and opera.
As a water sports enthusiast, Michael claims to be one of the world's few surfing opera singers.
- Julian Anderson
- The Duke
- Martin Kidd
- Luiz
- Andreas Hirt
- The Grand Inquisitor
- Michael Warby
- Marco
- TBA
- Giuseppe
- David Solomon
- Antonio
- Sandra Shaw Bennett
- The Duchess
- Bridget Telfer
- Casilda
- Nadya Shaw Bennett
- Gianetta
- Sophie Uden
- Tessa
- Natalie-Jane Reid
- Fiametta
- Anita Smith
- Vittoria
Five other minor roles are still to be announced.
Contadine:
- Barbara Bloemsaat
- Malia Ellison
- Kathryn Gardner
- Hannah Grills
- Erin Hoskins
- Larna Jensen
- Nadine Kemp
- Charlotte Kidd
- Jocelyn Le Petit
- Sarah Levings
- Rebecca Moyle
- Natalie-Jane Reid
- Anita Smith
- Nicky Solomon
- Heidi Thompson
- Amanda Waugh
Gondolieri:
- Nick Beckwith
- Chris Caradus
- Russell Clark
- Andrew Craik
- Reegan Lastovicha
- Fraser Lau
- Simon McLean
- Stephen Murphy
- Ray Sheppard
- David Solomon
- Tanara Stedman
- Campbell Thomson
- Dan Wilson
Website bookings: www.ticketdirect.co.nz. Tickets: (Dunedin) Adults $52.50, Seniors (65+) and groups of 10 or more $47.50, Students and children still at school $25; (Oamaru) Adults $47.50, Seniors (65+) and groups of 10 or more $42.50, Students and children still at school $22.50. Booking fees apply.