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An Entirely Original Comic Opera in Two Acts Entitled the Gondoliers: Or the King of Barataria
The Or The King Of Barataria is a comic opera in two acts that was first published in 1889. It is an entirely original work by the British librettist, William Schwenck Gilbert. The story revolves around two gondoliers, Marco and Giuseppe, who are chosen to be the kings of Barataria, a fictional kingdom. However, it is later revealed that one of them is the true king, but neither of them knows which one. The plot thickens as they both fall in love with their respective wives, and the true identity of the king is finally revealed in a surprising twist. The opera is known for its catchy tunes, witty lyrics, and humorous plot, and has been performed numerous times since its premiere. Gilbert's collaboration with composer Arthur Sullivan produced some of the most popular operettas of the late 19th century, and The Gondoliers is considered one of their finest works. This edition of the opera includes the full libretto, as well as a detailed introduction and notes by the editor.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
52 pages, Paperback
First published January 1, 1889
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About the author
W.S. Gilbert
720 books35 followersBritish playwright and lyricist Sir William Schwenck Gilbert (18 November 1836 – 29 May 1911) wrote a series of comic operas, including
Her Majesty's Ship Pinafore
(1878) and
The Pirates of Penzance
(1879), with composer Sir Arthur Sullivan.
This English dramatist, librettist, poet, and illustrator in collaboration with composer Sullivan produced fourteen comic operas, which include The Mikado , one of the most frequently performed works in the history of musical theatre.
Opera companies, repertory companies, schools and community theatre groups throughout and beyond the English-speaking world continue to perform regularly these operas as well as most of their other Savoy operas. From these works, lines, such as "short, sharp shock", "What, never? Well, hardly ever!", and "Let the punishment fit the crime," form common phrases of the English language.
Gilbert also wrote the Bab Ballads , an extensive collection of light verse, which his own comical drawings accompany.
His creative output included more than 75 plays and libretti, numerous stories, poems, lyrics and various other comic and serious pieces. His plays and realistic style of stage direction inspired other dramatists, including Oscar Wilde and George Bernard Shaw. According to The Cambridge History of English and American Literature , the "lyrical facility" of Gilbert "and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since."
This English dramatist, librettist, poet, and illustrator in collaboration with composer Sullivan produced fourteen comic operas, which include The Mikado , one of the most frequently performed works in the history of musical theatre.
Opera companies, repertory companies, schools and community theatre groups throughout and beyond the English-speaking world continue to perform regularly these operas as well as most of their other Savoy operas. From these works, lines, such as "short, sharp shock", "What, never? Well, hardly ever!", and "Let the punishment fit the crime," form common phrases of the English language.
Gilbert also wrote the Bab Ballads , an extensive collection of light verse, which his own comical drawings accompany.
His creative output included more than 75 plays and libretti, numerous stories, poems, lyrics and various other comic and serious pieces. His plays and realistic style of stage direction inspired other dramatists, including Oscar Wilde and George Bernard Shaw. According to The Cambridge History of English and American Literature , the "lyrical facility" of Gilbert "and his mastery of metre raised the poetical quality of comic opera to a position that it had never reached before and has not reached since."
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Displaying 1 - 8 of 8 reviews
October 30, 2014
As I have said in my other reviews of Gilbert & Sullivan, I read this as part of The Complete Plays of Gilbert and Sullivan on my Kindle while watching the YouTube video.
The Gondoliers is the first of the 14 operettas in which W.S. Gilbert and Arthur Sullivan collaborated. The style is more of a traditional opera than some of their later works but the plot has the "topsy turvy" style for which they became famous.
The Gondoliers is the first of the 14 operettas in which W.S. Gilbert and Arthur Sullivan collaborated. The style is more of a traditional opera than some of their later works but the plot has the "topsy turvy" style for which they became famous.
May 7, 2014
I've always loved the hilarious poem "The Duke of Plaza-Toro," but it was only recently that I caught on to the fact that it came from a Gilbert and Sullivan operetta. It's very fitting that I found "that unaffected, undetected, well-connected nobleman" and his Duchess to be by far the funniest characters in the play. Good fun!
June 3, 2023
This is one of their best. They both worked harder on it than their others, after Sullivan rejected working any more with Gilbert and wanted to do more serious stuff. He was convinced to try again, and Gilbert let him have more control, so this has about the longest stretch of music, 18 minutes, at the beginning—according to the notes in our edition.
We read the complete annotated opera in the brick of a book edited by Ian Bradley, and we read all the annotations too, and listened to each song after reading the words so we could know what they were really saying. It will be a wonderful family memory.
Gilbert is so hilarious. Do any of his lyrics top “The Duke of Plaza-Toro”? “In enterprise of martial kind when there was any fighting / He led his regiment from behind, he found it less exciting…” Of course his plots are unbelievable and repetitive, but this is one of the best regardless.
And of course Sullivan—what a musician. He can do ballads, arias, recitatives, choruses, etc., all masterfully portraying Gilbert’s lyrics. Who is more to be praised for the success of these operas? I’m sure it’s not an easy choice to just pick Gilbert as the answer; surely he wouldn’t have been a success without Sullivan.
We read the complete annotated opera in the brick of a book edited by Ian Bradley, and we read all the annotations too, and listened to each song after reading the words so we could know what they were really saying. It will be a wonderful family memory.
Gilbert is so hilarious. Do any of his lyrics top “The Duke of Plaza-Toro”? “In enterprise of martial kind when there was any fighting / He led his regiment from behind, he found it less exciting…” Of course his plots are unbelievable and repetitive, but this is one of the best regardless.
And of course Sullivan—what a musician. He can do ballads, arias, recitatives, choruses, etc., all masterfully portraying Gilbert’s lyrics. Who is more to be praised for the success of these operas? I’m sure it’s not an easy choice to just pick Gilbert as the answer; surely he wouldn’t have been a success without Sullivan.
June 20, 2019
[rating = B]
Like their H.M.S. Pinafore, the second Act is much better than the first (actually, there are several interesting similarities with Pinafore that are too similar...). Anyway, this is a later work and seems that the lyrical madness so wonderful in their earlier stuff has drained away. Oh it does pain me to say this for I love Gilbert and Sullivan, but this "Operetta" is one you could pass on. The Second Act, however, was a bit more spirited in music and lyrics and revived my hopes. This is a basic tale of love and circumstances being magically repaired by a mysterious twist (that wasn't so mysterious) at the end. I do not think I will watch this again, but I may look over some of the later songs now and then.
Like their H.M.S. Pinafore, the second Act is much better than the first (actually, there are several interesting similarities with Pinafore that are too similar...). Anyway, this is a later work and seems that the lyrical madness so wonderful in their earlier stuff has drained away. Oh it does pain me to say this for I love Gilbert and Sullivan, but this "Operetta" is one you could pass on. The Second Act, however, was a bit more spirited in music and lyrics and revived my hopes. This is a basic tale of love and circumstances being magically repaired by a mysterious twist (that wasn't so mysterious) at the end. I do not think I will watch this again, but I may look over some of the later songs now and then.
June 10, 2017
This is the point in the Gilbert and Sullivan canon where they begin to lose steam notably, to the point of recycling the "babies switched at birth" plot from Pinafore wholesale. The influence of Italian opera is starting to sink in, and not for the better- nothing here is as memorable or as witty as their previous shows.
May 9, 2021
I think The Gondoliers has to be my favourite Gilbert and Sullivan comic opera and it holds a special place in my heart as it was the first G & S show that I performed in. I have been in two productions in the female ensemble and I have also played Inez. (Dream role is The Duchess.) I find the music delightful and uplifting as well as the storyline.
February 22, 2025
Brilliantly witty lyrics matched by a sparkling, inventive score. A work of two masters!
Displaying 1 - 8 of 8 reviews