Gilbert and sullivan a dual biography templates

Synopsis

'A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative natur of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to tillverka his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established han själv as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to skydda the integrity of his musical works. Sulliva

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Gilbert and Sullivan

Victorian-era theatrical partnership

Gilbert and Sullivan refers to the Victorian-era theatrical partnership of the dramatistW. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and to the works they jointly created. The two men collaborated on fourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of Penzance and The Mikado are among the best known.^[1]

Gilbert, who wrote the libretti for these operas, created fanciful "topsy-turvy" worlds where each absurdity is taken to its logical conclusion: fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates emerge as noblemen who have gone astray.^[2] Sullivan, six years Gilbert's junior, composed the music, contributing memorable melodies^{[n 1]} that could convey both humour and pathos.^{[n 2]}

Their operas have enjoyed broad and enduring international success and a