Part I - Background

1 - Savoy opera and its discontents: the theatrical background to a quarrel

pp 1-21

2 - Identity crisis and the search for English opera: the Savoy Theatre in the 1890s

pp 22-35

3 - Resituating Gilbert and Sullivan: the musical and aesthetic context

pp 36-49

4 - ‘We sing as one individual’? Popular misconceptions of ‘Gilbert and Sullivan’

pp 50-66

Part II - Focus

5 - The operas in context: stylistic elements – the Savoy and beyond

pp 67-84

6 - The librettos in context: Gilbert's ‘fables in song’

pp 85-97

7 - ‘This particularly rapid, unintelligible patter’: patter songs and the word–music relationship

pp 98-108

8 - Standing still and moving forward: The Mikado, Haddon Hall and concepts of time in the Savoy operas

pp 109-121

9 - Musical contexts I: motives and methods in Sullivan's allusions

pp 122-135

10 - Musical contexts II: characterisation and emotion in the Savoy operas

pp 136-150

Part III - Reception

11 - Topsy-Turvy: a personal journey

pp 151-176

12 - Amateur tenors and choruses in public: the amateur scene

pp 177-189

13 - Champions and aficionados: amateur and listener experiences of the Savoy operas in performance

pp 190-200

14 - ‘How great thy charm, thy sway how excellent!’ Tracing Gilbert and Sullivan's legacy in the American musical

pp 201-215

15 - ‘See how the Fates their gifts allot’: the reception of productions and translations in continental Europe

pp 216-228

Part IV - Into the twenty-first century

16 - Adventures in musical detection: scholarship, editions, productions and the future of the Savoy operas

pp 229-242

Appendix 1 - Who wrote the overtures?

pp 243-243

Appendix 2 - Stage and choral works by Arthur Sullivan and W. S. Gilbert

pp 244-244

Appendix 3 - Modern editions of works by Arthur Sullivan and W. S. Gilbert

pp 245-246

Appendix 4 - Sullivan's archetypes of English opera

pp 247-247

Notes

pp 248-256

Bibliography and further reading

pp 257-269

Index

pp 270-274

Plate section