Research Project: Continental Connections
Continental Connections: Gilbert and Sullivan's Relationship with European Music
Research Paper by Jimmy Stevens
Summary
My paper covers the many connections between the operettas of Gilbert and Sullivan and the Continental European grand opera tradition. Sullivan’s music frequently oscillates between resembling “contemporary” musical theatre styles of the late nineteenth and twentieth centuries and borrowing from early nineteenth century grand opera forms. I begin by tracing the path Sullivan’s education took, with his study at the Leipzig Conservatory and reverence for Continental composers, especially Mendelssohn, and his entrance into the London music scene by working in the Royal Italian Opera. These experiences had a significant impact on Sullivan’s creative development.
Even in the duo’s earliest works, the Continental connection is felt. I begin by comparing the largo concertato in Trial by Jury with its inspiration, “D’un pensiero” from Bellini’s La sonnambula. Much of the number, from its vocal writing, instrumental texture, and even key is similar to Bellini’s. Italianate and French vocal writing would appear in later operettas, such as in The Pirates of Penzance. Mabel’s entrance aria, with its ¾ time and extensive coloratura very closely resemble the popular waltz-arias in contemporary French operas, such as Marguerite’s “Jewel Song” in Gounod’s Faust. Likewise, Sullivan draws on Verdi in giving Mabel an extensive cadenza, which resemble’s Violetta’s cadenza (almost note-for-note) at the end of her Act I aria in La traviata, “Ah, fors’é lui…Sempre libera” as she sings of her great love for Frederick, much like Violetta singing of her great love of being free.
Duets also sometimes followed the bel canto structure, with an example being Frederick and Mabel’s duet from The Pirates of Penzance. In this duet, Sullivan follows the solita forma quite closely, with its tempestuous, parlando beginning, slower, lyrical middle section, a transitional portion using recitative accompanied by the orchestra, and a joyous concluding section, which is characterized by the duo singing in thirds.
Contemporary composers of the time, such as Verdi and Wagner, also serve as inspiration in Sullivan’s operettas. Verdi’s influence is felt in Princess Ida, as Ida sings a powerful number in the Act I final which is similar in texture, tone, and character to Manrico’s famous martial aria “Di quella pira” from Il trovatore. Likewise, Wagner’s leitmotif idea is used in the duo’s most serious operetta, Yeomen of the Guard, as a regal brass figure is used extensively throughout the opera whenever the Tower of London is mentioned or implied.
Sources
My sources include many scholarly writings on the music of Sullivan and the lyrics of Gilbert, but also include many instances taken from the scores themselves.