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Main article: H.M.S. Pinafore

Gilbert and Sullivan scored their first international hit with H.M.S. Pinafore (1878), satirising the rise of unqualified people to positions of authority and poking good-natured fun at the Royal Navy and the English obsession with social status (building on a theme introduced in The Sorcerer , love between members of different social classes). As with many of the Gilbert and Sullivan operas, a surprise twist changes everything dramatically near the end of the story.

Gilbert oversaw the designs of sets and costumes, and he directed the performers on stage. [30] He sought realism in acting, shunned self-conscious interaction with the audience, and insisted on a standard of characterisation where the characters were never aware of their own absurdity. [31] Gilbert insisted that his actors know their words perfectly and obey his stage directions, which was something new to many actors of the day. [31] Sullivan personally oversaw the musical preparation. The result was a new crispness and polish in the English musical theatre. [32] [33] As Jessie Bond wrote later:

Our stage discipline was strict and unbending. Gilbert's word was law; he thoroughly worked out in his own mind every bit of action, by-play and grouping, and allowed no deviation from his plan. He...made drawings and took measurements with the minutest care.... He had unlimited fertility of invention in comic business and would allow no gag, no clowning, no departure from his own definite conception. Sullivan's musical conception was equally clear-cut and decided. Every part must be made subservient to the whole, and his sarcasms overwhelmed the transgressor with scorn. "And now, might I trouble you to try over my music," he would say to a singer too anxious to display his or her top notes. But there was nothing to hurt or offend us in this unswerving discipline, we took their good-humoured raillery as our due when we failed in our rendering or overstepped the bounds; and the patience and enthusiasm of that artistic pair so infected all of us that we worked willingly for hours and hours at rehearsals, trying with all our might to realize the conceptions of those two brilliant minds. [34]

H.M.S. Pinafore ran in London for 571 performances, [35] the second longest run of any musical theatre piece in history up to that time (after the operetta Les cloches de Corneville ). [36] Hundreds of unauthorised, or "pirated", productions of Pinafore appeared in America. [37] During the run of Pinafore , Richard D'Oyly Carte split up with his former investors. The disgruntled former partners, who had invested in the production with no return, staged a public fracas, sending a group of thugs to seize the scenery during a performance. Stagehands successfully managed to ward off their backstage attackers. [38] This event cleared the way for Carte, Gilbert and Sullivan to form the D'Oyly Carte Opera Company, which then produced all of their succeeding operas.

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Colorado State University

Today @ Colorado State has been replaced by SOURCE . This site exists as an archive of Today @ Colorado State stories between January 1, 2009 and September 8, 2014.

March 28, 2013

In 'The Merry Widow,' a prince from a small kingdom courts a wealthy widow to keep her money in the country. Don't miss this collaboration between the Ralph Opera Center and the CSU Sinfonia Orchestra!

Colorado State University’s Ralph Opera Center, along with the CSU Sinfonia Orchestra, presents The Merry Widow by Franz Lehár.

Tickets are available at the University Center for the Arts (UCA) Ticket Office in the UCA Griffin Lobby, by phone at (970) 491-2787, or online .


Youth tickets must be purchased in person at the Ticket Office. Advance purchase is recommended to avoid at-the-door fees.

The Merry Widow tells the story of a rich widow, Hanna Glawari, and her countrymen’s attempt to keep her money in the principality by finding her the right husband. Count Danilo Danilovitsch, who was once in love with a penniless Hanna before her marriage, vies for her affection, but his efforts ignite a back-and-forth war of the roses.

This romantic comedy is filled with twists and turns that will keep the audience on the edge of their seats.

CSU’s production, performed in English, is directed by Tiffany Blake , Ph.D., and conducted by Wes Kenney .

“I chose this piece because it is a great fit for the voices we have in our program,” noted CSU director of opera Tiffany Blake.

“It is an ensemble show, so it also gives a lot of students the opportunity to perform. Aside from these more practical reasons, it is an entertaining piece with beautiful music.”

The Merry Widow is a great first-time opera experience. Because it is an operetta, it includes musical numbers bridged by spoken dialogue. Resembles musical theater in structure, it is often a more familiar form to first-time opera goers, but also proves a classic favorite for the seasoned opera aficionado.

In addition to the accessible format, CSU is putting a more modern twist on the original production. Franz Lehár’s original script sets the story in Paris during the early 1900s, but CSU’s production will be set in the 1920s.

“The 20s were a time of beautiful design, both in terms of architecture and clothing, so it afforded the design team lots of opportunity to create something beautiful on stage,” said Blake.

“The post-WWI era was also a time of breaking boundaries and enjoying life, so the atmosphere of going to clubs (like Maxim's in the operetta) and living the life of a playboy like the main character Danilo, was a good parallel.”

To achieve this 1920s look, Taylor Webster, CSU’s master carpenter and theatre program alumna, worked closely with Blake.

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