Arthur Sullivan (1842-1900)

Episodes

SeriesTitleFirst
Broadcast
Comments
2023A Tempestuous Relationship20230413Donald Macleod delves into a period where Sullivan's working relationship with Gilbert begins to falter.

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W. S. Gilbert on operetta's that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early forties. He also had a liking for playing cards, buying race horses and gambling, frequently loosing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so that when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace.

Sir Arthur Sullivan was rising to the height of his fame. He became the Principal for the new Training School for Music in South Kensington, which would later evolve into the Royal College of Music. He was also in demand as a conductor, leading the UK's first complete performance of Bach's B Minor Mass. His increased popularity and wealth enabled a move to a new home in Queen Anne's Mansions on Victoria Street, where he remained for the rest of his life. He was also being offered invitations to spend time with royalty, including a trip on the Prince of Wales's flagship, HMS Hercules where Sullivan got to visit the Winter palace in St. Petersburg and hear the Imperil Chapel Choir. The 1880s saw further collaborations with W. S. Gilbert including Patience, Iolanthe, Princess Ida, The Mikado, Ruddigore, The Yeomen of the Guard and The Gondoliers. Despite this substantial list of projects, Sullivan was becoming dissatisfied with his collaboration with Gilbert and planning to turn his attention to a more serious style of opera.

Patience (So go to him and say to him)

Gillian Knight (Lady Jane), contralto

John Reed (Reginald Bunthorne), baritone

New Symphony Orchestra of London

Isidore Godfrey, conductor

Iolanthe (Loudly let the trumpet bray)

Glyndebourne Chorus

Pro Arte Orchestra

Malcolm Sargent

Who is like unto thee

The Choir of Keble College, Oxford

Mark Laflin, conductor

Gavin Plumley

Mikado (excerpts)

Valerie Masterson (Yum-Yum), soprano

Peggy Ann Jones (Pitti-Sing), mezzo-soprano

Colin Wright (Nanki-Poo), tenor

John Reed (Lord High Executioner), baritone

Kenneth Sandford (Pooh-Bah), baritone

D'oyly Carte Opera Company Chorus

Royal Philharmonic Orchestra

Royston Nash, conductor

The Golden Legend (excerpt)

Janice Watson (Elsie), soprano

Mark Wilde (Prince Henry), tenor

The New London orchestra

Ronald Corp, conductor

Ruddigore (excerpts)

Jean Allister (Mad Margaret), mezzo-soprano

John Reed (Sir Ruthven Murgatroyd), baritone

Kenneth Sandford (Sir Roderic Murgatroyd), baritone

Donald Adams (Sir Roderic), bass-baritone

The Orchestra of the Royal Opera House

The Yeomen of the Guard (excerpts)

Elsie Morrison (Elsie), soprano

Geraint Evans (Point), bass baritone

John Carol Case (Second Yeoman), bass baritone

Malcolm Sargent, conductor

Donald Macleod explores Sullivan's increasing popularity and prominence.

2023An Emerging Genius20230410Donald Macleod delves into Arthur Sullivan's early musical inspirations and training.

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America, too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W.S. Gilbert on operettas that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early 40s. He also had a liking for playing cards, buying race horses and gambling, frequently losing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace.

Sullivan caught the music bug early on in his life, inspired by the military marches he heard living with his family at Sandhurst where his father was a bandsman at the Royal Military College. The Sandhurst parish church also had a huge impact upon the boy, with its congregational singing, and he was soon composing anthems. At the age of 12, Sullivan was accepted as a chorister to the Chapel Royal, and within a few years began further studies at the Royal Academy of Music. His time in London must have had a significant impact upon him, widening his horizons. Sullivan's musical education was expanded even further with a year-long period in Leipzig, where the music making of the Gewandhaus orchestra made a huge impression. Upon returning to England, Sullivan, at the age of 18, was determined to make his mark as a musician.

HMS Pinafore (Overture)

Royal Ballet Sinfonia

Andrew Penny, conductor

HMS Pinafore (When I was a lad)

John Reed (Sir Joseph), baritone

D'Oyly Carte Opera Company

New Symphony Orchestra of London

Isidore Godfrey, conductor

O Israel

Mary Bevan, soprano

David Owen Norris, piano

Ich m怀chte hinaus es jauchzen

Ashley Riches, bass baritone

Overture ‘In Memorium

BBC Philharmonic

Richard Hickox, conductor

String Quartet in D minor

Yeomans String Quartet

Mikado (excerpt)

Marie McLaughlin (Yum-Yum), soprano

Janice Watson (Peep-Bo), soprano

Anne Howells (Pitti-Sing), mezzo-soprano

Felicity Palmer (Katisha), mezzo-soprano

Anthony Rolfe Johnson (Nanki-Poo), tenor

Richard Suart (Ko-Ko), baritone

Richard Van Allan (Pooh-Bah), bass-baritone

Nicholas Folwell (Pish-Tush), baritone

Welsh National Opera Chorus

Welsh National Opera Orchestra

Sir Charles Mackerras, conductor

Donald Macleod traces Arthur Sullivan's early development in music.

2023Sullivan At The Crystal Palace20230411Donald Macleod delves into George Grove's support for Sullivan promoting his music at the Crystal Palace

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W. S. Gilbert on operetta's that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early forties. He also had a liking for playing cards, buying race horses and gambling, frequently loosing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so that when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace.

Sir George Grove scheduled Sullivan's incidental music to Shakespeare's The Tempest in a concert at the Crystal Palace in 1862. Sullivan became an overnight celebrity, and from there he never looked back. Sullivan and Grove lived close to one another in London, and would frequently go on trips abroad together too. Grove often programmed Sullivan's music in concerts, at a time when the composer was making his way as a paid church organist in fashionable parts of London. Through Grove, Sullivan met important people such as Charles Dickens, Rossini, and Lewis Carroll, as well as striking up a friendship with Alfred, the Duke of Edinburgh. Sullivan's first successful comic opera in 1866 was Cox and Box, and by the end of the decade he was commissioned to compose an oratorio for the Three Choirs Festival, The Prodigal Son.

The Tempest Suite, Op 1 (Act IV Overture) (excerpt)

BBC Philharmonic

Richard Hickox, conductor

The Mikado (Three Little Maids from School)

Lesley Garrett (Yum-Yum), soprano

Susan Bullock (Peep-Bo), mezzo-soprano

Jean Rigby (Pitti-Sing), mezzo soprano

ENO Chorus

ENO Orchestra

Peter Robinson, conductor

Will he come?

Kitty Whately, mezzo-soprano

David Owen Norris, piano

O Love the Lord

The Choir of Keble College, Oxford

Gavin Plumley, organ

Mark Laflin, conductor

Twilight, Op 23

Murray McLachlan, piano

Symphony in E major, ‘Irish Symphony' (Andante espressivo)

Royal Liverpool Philharmonic Orchestra

David Lloyd-Jones, conductor

Cox and Box (excerpts)

James Gilchrist (Box), tenor

Neal Davies (Cox), bass-baritone

Donald Maxwell (Bouncer), baritone

BBC National Orchestra of Wales

Pirates of Penzance (excerpt)

Richard Suart (Major-General), baritone

Donald Adams (Pirate King), bass

Nicholas Folwell (Samuel), baritone

John Mark Ainsley (Frederic), tenor

Richard Van Allan (Sergeant), bass

Welsh National Opera Chorus

Welsh National Opera Orchestra

Charles Mackerras, conductor

Donald Macleod explores the impact of George Grove upon Arthur Sullivan.

2023Sullivan Meets Gilbert20230412Donald Macleod journeys through Sir Arthur Sullivan's first collaborations with W.S. Gilbert.

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America, too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W.S. Gilbert on operettas that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early forties. He also had a liking for playing cards, buying race horses and gambling, frequently losing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace.

Sullivan was now making his way in London, including a move to a new address, Albert Mansions on Victoria Street, along with his mother and a number of servants. Buckingham Palace was just a short walk away, which allowed for occasional visits from the Duke of Edinburgh, who liked to pop by to play his violin. The 1870s saw the beginnings of one of the most successful artistic partnerships of all time: Sullivan's collaborations with the librettist W.S. Gilbert. Their first venture was Thespis, followed, in that same decade, by Trial by Jury, The Sorcerer and HMS Pinafore. The Pirates of Penzance would become one of the duo's most successful operettas. Also during this period, Sullivan was busy composing over 40 hymn tunes and his second biblical oratorio, The Light of the World. It was, however, for his operettas that his name was becoming famous, with the impresario Richard D'Oyly Cate now organising productions in America too.

Trial by Jury (Hark the hour of ten is sounding)

BBC National Orchestra of Wales

Richard Hickox, conductor

The Sorcerer (My name is John Wellington Wells)

John Reed (The Sorcerer), baritone

Royal Philharmonic Orchestra

Isidore Godfrey, conductor

The Merry Wives of Windsor (excerpts)

Maggie McDonald, mezzo-soprano

RTE Concert Orchestra

Andrew Penny, conductor

The Light of the World (Weep Ye Not for the Dead)

Kitty Whately (An Angel), mezzo-soprano

BBC Symphony Chorus

BBC Concert Orchestra

John Andrews, conductor

Lead Kindly Light

Choir of the Basilica of the National Shrine of the Immaculate Conception

Peter Latona, conductor

HMS Pinafore (excerpts)

Jean Hindmarsh (Josephine), soprano

Gillian Knight (Buttercup), mezzo-soprano

Jeffrey Skitch (Captain Corcoran), baritone

John Reed (Sir Joseph), baritone

New Symphony Orchestra of London

Pirates of Penzance (excerpt)

Rebecca Evans (Mabel), soprano

Julie Gossage (Edith), mezzo-soprano

Jenevora Williams (Kate), mezzo-soprano

John Mark Ainsley (Frederic), tenor

Welsh National Opera Chorus

Welsh National Opera Orchestra

Charles Mackerras, conductor

The Lost Chord

Stuart Burrows, tenor

Ambrosian Singers

Martin Neary, organ

Wyn Morris, conductor

Donald Macleod explores the period when Sullivan meets the librettist W.S. Gilbert.

2023The Great Carpet Quarrel20230414Donald Macleod explores the court case between Sullivan, his librettist W.S. Gilbert and the impresario D'Oyly Carte.

Sir Arthur Sullivan became the most renowned composer of the Victorian era, with his fame spreading across Europe and America, too. His output spanned many genres including oratorios, a symphony, chamber music, hymns and anthems, but it was for his collaboration with the librettist W.S. Gilbert on operettas that he is best remembered today. He was a personal friend to royalty, and he was knighted when he was in his early 40s. He also had a liking for playing cards, buying race horses and gambling, frequently losing the substantial earnings from the stage works he'd composed. Sullivan became a pillar of the British musical establishment, so when he died, despite wanting to be buried with his family in Brompton Cemetery, he was laid to rest in the crypt of St Paul's Cathedral, with an additional service at the Chapel Royal in St. James's Palace.

In the final decade of Sir Arthur Sullivan's life, he saw a dream of his come to fruition: a serious grand opera, called Ivanhoe. Sullivan saw it as his most important work. Thanks to his popularity and international fame, the opening night was oversubscribed five times over for tickets. During this period, Sullivan was also regularly commissioned to compose works for royal occasions, such as the festivities surrounding Queen Victoria's Diamond Jubliee. He was viewed a national treasure, and when an argument arose between Sullivan, his librettist W.S. Gilbert, and the impresario Richard D'Oyly Carte, proceedings were followed avidly in the press. It was nicknamed the Great Carpet Quarrel. This put a stop to any collaboration between Sullivan and Gilbert, although in due course they did come together again, and their final operetta was The Grand Duke. It ran for only 123 performances, which D'Oyly Carte regarded as a failure.

The Yeomen of the Guard (Overture) (excerpt)

Academy of St Martin in the Fields

Neville Marriner, conductor

Other Days

Ashley Riches, bass-baritone

David Owen Norris, piano

Onward Christian Soldiers

Huddersfield Choral Society

Wyn Morris, conductor

My Dearest Heart

Felicity Palmer, soprano

John Constable, piano

Ivanhoe (excerpt)

Janice Watson (Lady Rowena), soprano

Geraldine McGreevy (Rebecca), soprano

Neal Davies (King), baritone

Toby Spence (Ivanhoe), tenor

Stephen Gadd (Grand Master), baritone

James Rutherford (Sir Brian), bass-baritone

Peter Rose (Cedric), bass

Adrian Partington Singers

BBC National Orchestra of Wales

David Lloyd-Jones, conductor

Imperial march

BBC Concert Orchestra

Owain Arwel Hughes, conductor

Utopia Limited (Society has quite forsaken)

Kenneth Sandford (King), baritone

D'Oyly Carte Opera Chorus

Royal Philharmonic Orchestra

Royston Nash, conductor

The Grand Duke (excerpts)

Meston Reid (Ernest Dummkopf), tenor

John Ayldon (Prince of Monte Carlo), bass-baritone

The Long Day Closes

The Kings Singers

The Gondoliers (excerpts)

Jennifer Toye (Casilda), soprano

Gillian Knight (Duchess of Plaza-Toro), mezzo-soprano

Jeffrey Skitch (Luiz), baritone

John Reed (Duke of Plaza-Toro), baritone

Thomas Round (Marco Palmieri), tenor

Alan Styler (Giuseppe Palmieri), baritone

New Symphony Orchestra of London

Isidore Godfrey, conductor

Donald Macleod follows Sullivan's final decade, including a highly-publicised court case.