Opera’s Odd Couple: How Gilbert and Sullivan Found Harmony in Humor

Dig into the team behind the comedy of pirate proportions at Seattle Opera. Plus, the 25th annual Gregory Awards is this week and the windy city comes to 5th Avenue Theatre’s stage.

Opera’s Odd Couple: How Gilbert and Sullivan Found Harmony in Humor
Reginald Smith Jr. (the Pirate King) with members of the Seattle Opera Chorus in The Pirates of Penzance at Seattle Opera. | Photo by David Jaewon Oh

Gilbert and Sullivan? Why is the librettist listed first? Come to think of it, why is the librettist listed at all? Convention dictates that an opera belongs to its composer: it’s Puccini’s Tosca, Strauss’s Daphne, Bizet’s Carmen. Well, that convention —not crediting the librettist—makes some sense if we’re talking about operas performed in languages foreign to most of the audience. When Seattleites come to hear Tosca, Daphne, or Carmen, the words are not the draw. You’re probably not even listening to the words but instead reading how some nincompoop translated them.

But a performance of Gilbert and Sullivan, in America, offers a different kind of experience: here the original words are not only available to the audience, they’re full and chewy and erudite and playful and difficult, rich with rhyme, popping with paradox, personality, and pitiful puns. William Schwenck Gilbert was an opera librettist and then some. As a purveyor of humor, drama, and social criticism in late Victorian England, he was the successor to Charles Dickens. Dickens and Gilbert were huge celebrities; their verbal works were unprecedentedly popular on both sides of the Atlantic.

At least, Gilbert’s writing achieved that kind of popularity—when set to music by Sir Arthur Seymour Sullivan. Their Venn diagram overlap—the intersection of these separate geniuses—was so extraordinary, their creations still delight 150 years later...


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