Princess Ida's three "hulking brothers" are bested by Prince Hilarion and his friends Cyril and Florian in Act III of the New York Gilbert and Sullivan Players' Princess Ida.
Politics we bar,by Ken
they are not our bent!
On the whole we are
not intelligent!
-- Ida's brother Arac, in Act I of Princess Ida
So far in this series we've heard our Donald as the army-besotted landlord Sergeant Bouncer in Burnand and Sullivan's Cox and Box and as the Usher in Trial by Jury, and most recently as the specter of the late Sir Roderic Murgatroyd in Ruddigore. And I thought we should start by finishing up with Sir Roderic, since we gave rather short shrift to the great scene in which the ancestral Murgatroyds step out of their picture frames in the great hall of the Bad Baronets of Ruddigore to torment the recently entitled Sir Ruthven over his failure to live up to the fabled Witch's Curse -- to "do one crime or more, once every day forever." After all, it was supposed to be our goal in last week's post, "When the night wind howls in the chimney cowls."
So we're going to return to the Picture Galley, then push farther into Ruddigore, and then we're going to hear Donald in another role, one he didn't have occasion to sing often, but sang wonderfully on two recordings of Princess Ida.
GILBERT and SULLIVAN: Ruddigore: Act II, Chorus of Pictures, "Painted emblems of a race" . . . Sir Roderic, "When the night wind howls in the chimney cowls"
[Picture Gallery in Ruddigore Castle. The walls are covered with full-length portraits of the Baronets of Ruddigore from the time of James I -- the first being that of SIR RUPERT, alluded to in the legend; the last, that of the last deceased Baronet, SIR RODERIC. The stage darkens for a moment. It becomes light again, and the Pictures are seen to have become animated.]Part 1, "Painted emblems of a race"
CHORUS OF FAMILY PORTRAITS:
Painted emblems of a race,
all accurst in days of yore,
each from his accustomed place
steps into the world once more.
[The Pictures step from their frames and march round the stage.]
Baronet of Ruddigore,
last of our accursèd line,
down upon the oaken floor – Down upon those knees of thine.
Coward, poltroon, shaker, squeamer,
blockhead, sluggard, dullard, dreamer,
shirker, shuffler, crawler, creeper,
sniffler, snuffler, wailer, weeper,
earthworm, maggot, tadpole, weevil!
Set upon thy course of evil,
Lest the King of Spectre-Land
set on thee his grisly hand!
[The spectre of SIR RODERIC descends from his frame.]
SIR RODERIC: Beware! beware! beware!
ROBIN: Gaunt vision, who art thou
that thus, with icy glare
and stern relentless brow,
appearest, who knows how?
SIR RODERIC: I am the spectre of the late Sir Roderic Murgatroyd,
Who comes to warn thee that thy fate Thou canst not now avoid.
Alas, poor ghost!
SIR RODERIC: The pity you
express for nothing goes:
We spectres are a jollier crew
than you, perhaps, suppose!
CHORUS: We spectres are a jollier crew
than you, perhaps, suppose!
Song
SIR RODERIC: When the night wind howls
in the chimney cowls,
nd the bat in the moonlight flies,
and inky clouds, like funeral shrouds,
sail over the midnight skies --
when the footpads quail
at the night-bird's wail,
and black dogs bay at the moon,
then is the spectres' holiday --
then is the ghosts' high-noon!
CHORUS: Ha! ha! Then is the ghosts' high-noon!
SIR RODERIC: As the sob of the breeze
sweeps over the trees,
and the mists lie low on the fen,
from grey tombstones
are gathered the bones
that once were women and men,
and away they go,
with a mop and a mow,
to the revel that ends too soon,
For cockcrow limits our holiday --
the dead of the night's high noon!
CHORUS: Ha! ha! The dead of the night's high noon!
SIR RODERIC: And then each ghost
with his ladye-toast
to their churchyard beds take flight,
with a kiss, perhaps,
on her lantern chaps,
and a grisly grim "good night";
till the welcome knell
of the midnight bell
rings forth its jolliest tune,
and ushers in our next high holiday –
the dead of the night's high noon!
CHORUS: Ha! ha! The dead of the night's high noon!
Ha! ha! ha! ha!
Part 2, "When the night wind howls in the chimney cowls"
John Reed (b), Sir Ruthven Murgatroyd; Donald Adams (bs), Sir Roderic Murgatroyd; D'Oyly Carte Opera Chorus, Orchestra of the Royal Opera House, Covent Garden, Isidore Godfrey, cond. Decca, recorded July 1962
NOW WE HEAR ANOTHER SIDE OF SIR RODERIC
As fate would have it. In the wake of his throes of agony, Sir Ruthven has been ordered by his paintèd forebears to get cracking with his life of crime by carrying off a maiden from the village, a task he promptly turned over to his ever-faithful valley-de-sham turned steward Old Adam. Eventually Old Adam turns up with his catch, who turns out to be not what anyone expected. Billed by Adam as "a tiger-cat," it's our old friend the chronicler of the Witch's Curse, Rose Maybud's aunt, who happens to have, well, a special connection.
OLD ADAM [entering, guiltily]: Master -- the deed is done!
SIR RUTHVEN: What deed?
OLD ADAM: She is here -- alone, unprotected --
SIR RUTHVEN: Who?
OLD ADAM: The maiden. I've carried her off -- I had a hard task, for she fought like a tiger-cat!
SIR RUTHVEN: Great heaven, I had forgotten her! I had hoped to have died unspotted by crime, but I am foiled again -- and by a tiger-cat! Produce her -- and leave us!
[ADAM introduces DAME HANNAH, very much excited, and exits.]
SIR RUTHVEN: Dame Hannah! This is -- this is not what I expected.
DAME HANNAH : Well, sir, and what would you with me? Oh, you have begun bravely -- bravely indeed! Unappalled by the calm dignity of blameless womanhood, your minion has torn me from my spotless home, and dragged me, blindfold and shrieking, through hedges, over stiles, and across a very difficult country, and left me, helpless and trembling, at your mercy! Yet not helpless, coward sir, for approach one step -- nay, but the twentieth part of one poor inch -- and this poniard (produces a very small dagger) shall teach ye what it is to lay unholy hands on old Stephen Trusty's daughter!
SIR RUTHVEN: Madam, I am extremely sorry for this. It is not at all what I intended -- anything more correct -- more deeply respectful than my intentions towards you, it would be impossible for any one -- however particular -- to desire.
DAME HANNAH : Bah, I am not to be tricked by smooth words, hypocrite! But be warned in time, for there are, without, a hundred gallant hearts whose trusty blades would hack him limb from limb who dared to lay unholy hands on old Stephen Trusty's daughter!
SIR RUTHVEN: And this is what it is to embark upon a career of unlicensed pleasure!
[DAME HANNAH, who has taken a formidable dagger from one of the armed figures, throws her small dagger to SIR RUTHVEN.]
DAME HANNAH : Harkye, miscreant, you have secured me, and I am your poor prisoner; but if you think I cannot take care of myself you are very much mistaken. Now then, it's one to one, and let the best man win!
[Making for him.]
SIR RUTHVEN [in an agony of terror]: Don't! Don't look at me like that! I can't bear it! Roderic! Uncle! Save me!
[SIR RODERIC enters, from his picture. He comes down the stage.]
SIR RODERIC: What is the matter? Have you carried her off?
SIR RUTHVEN: I have -- she is there -- look at her -- she terrifies me!
SIR RODERIC [looking at DAME HANNAH]: Little Nannikin!
DAME HANNAH [amazed]: Roddy-doddy!
SIR RODERIC: My own old love! Why, how came you here?
DAME HANNAH : This brute -- he carried me off! Bodily! But I'll show him! [About to rush at SIR RUTHVEN.]
SIR RODERIC: Stop! [To SIR RUTHVEN]: What do you mean by carrying off this lady? Are you aware that once upon a time she was engaged to be married to me? I'm very angry -- very angry indeed.
SIR RUTHVEN: Now I hope this will be a lesson to you in future not to --
SIR RODERIC: Hold your tongue, sir.
SIR RUTHVEN: Yes, uncle.
SIR RODERIC: Have you given him any encouragement?
DAME HANNAH [to SIR RUTHVEN]: Have I given you any encouragement? Frankly now, have I?
SIR RUTHVEN: No. Frankly, you have not. Anything more scrupulously correct than your conduct, it would be impossible to desire.
SIR RODERIC: You go away.
SIR RUTHVEN: Yes, uncle. [Exits.]
SIR RODERIC: This is a strange meeting after so many years!
DAME HANNAH : Very. I thought you were dead.
SIR RODERIC: I am. I died ten years ago.
DAME HANNAH : And are you pretty comfortable?
SIR RODERIC: Pretty well -- that is -- yes, pretty well.
DAME HANNAH : You don't deserve to be, for I loved you all the while, dear; and it made me dreadfully unhappy to hear of all your goings-on, you bad, bad boy!
Which leads to this:
Ruddigore: Act II, Ballad, Dame Hannah (with Sir Roderic), "There lived a little flower 'neath the great oak tree"
There grew a little flower
'neath a great oak tree:
When the tempest 'gan to lower
little heeded she:
No need had she to cower,
for she dreaded not its power --
she was happy in the bower
of her great oak tree!
Sing hey,
lackaday!
Let the tears fall free
for the pretty little flower
and the great oak tree!
With SIR RODERIC: Sing hey,
lackaday! etc.
When she found that he was fickle,
was that great oak tree,
she was in a pretty pickle,
Aas she well might be --
but his gallantries were mickle,
for Death followed with his sickle,
and her tears began to trickle
for her great oak tree! Sing hey, lackaday! etc.
With SIR RODERIC: Sing hey,
lackaday! etc.
Said she, "He loved me never,
did that great oak tree,
but I'm neither rich nor clever,
and so why should he?
But though fate our fortunes sever,
to be constant I'll endeavour,
aye, for ever and for ever,
to my great oak tree!"
Sing hey,
lackaday! etc.
With SIR RODERIC: Sing hey,
lackaday! etc.
Gillian Knight (ms), Dame Hannah; Donald Adams (bs), Sir Roderic Murgatroyd; Orchestra of the Royal Opera House, Covent Garden, Isidore Godfrey, cond. Decca, recorded July 1962
MOVING ON TO PRINCESS IDA
As Act I of Princess Ida opens, there's trouble brewing between the rival kings Hildebrand and Gama, over the betrothal 20 years earlier of King Hildebrand's son, Hilarion, to King Gama's daughter, Ida. Hilarion begins his account of the curious circumstances of his affiancement:
Ida was a twelve-month-old,Unfortunately for the prospects for future happiness for the royal couple, Ida has sworn off men, and has gone off to found an academy exclusively for women.
twenty years ago.
I was twice as old, I'm told,
twenty years ago. . . .
As we see here, Ida's interests are always defended by her "three hulking brothers," as we'll hear them describe themselves in Act II. These doughty knights make a forceful arrival at King Hildebrand's castle.
GILBERT and SULLIVAN: Princess Ida: Act I, Chorus, "From the distant panorama come the sons of royal Gama" . . . Arac, "We are warriors three, sons of Gama Rex" . . . Brothers, "Bold and fierce and strong, ha ha!"
CHORUS: From the distant panorama
come the sons of royal Gama.
They are heralds evidently,
and are sacred consequently.
Sons of Gama, hail! oh, hail!
[Enter ARAC, GURON, and SCYNTHIUS.]
Trio
ARAC: We are warriors three,
sons of Gama, Rex!
Like most sons are we,
masculine in sex!
SCYNTHIUS: Yes!
GURON: Yes!
ARAC: Yes!
ALL THREE: Masculine in sex!
ARAC: Politics we bar,
they are not our bent!
On the whole we are
not intelligent.
SCYNTHIUS: Yes!
GURON: Yes!
ARAC: Yes!
ALL THREE: Not intelligent!
ARAC: But with doughty heart,
and with trusty blade
we can play our part --
fighting is our trade!
SCYNTHIUS: Yes!
GURON: Yes!
ARAC: Yes!
ALL THREE: Fighting is our trade!
ALL THREE with CHORUS: Bold and fierce and strong, ha! ha!
for a war we burn!
With its right or wrong, ha! ha!
we have no concern!
Order comes to fight, ha! ha!
order is obey'd,
We are men of might, ha! ha!
Fighting is our trade!
CHORUS, with ARAC: Bold and fierce and strong, ha! ha! etc.
Donald Adams (bs), Arac; John Banks (bs), Guron; Trevor Hills (b), Scynthius; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded Oct.-Dec. 1954
Donald Adams (bs), Arac; Anthony Raffell (bs), Guron; George Cook (b), Scynthius; D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Sir Malcolm Sargent, cond. Decca, recorded May 1965
AT THIS POINT LET'S GO BACK TO THE
It's one of those things for which I've never encountered an explanation, but for Princess Ida, apparently by Sullivan's choice, instead of a full overture we get just this stub, consisting of a rousing intro and a slow tune. It's sometimes called a prelude, and I'm going to do that, even though it's not a free-standing piece -- think of Verdi's Rigoletto and Traviata Preludes. I think we should hear it now . . . well, for reasons that should be obvious if you've listened to the previous excerpt. (As for the performances, I thought we should hear the stand-alone one Sir Malcolm Sargent recorded c1961 in addition to the distinctly snappier one he later recorded when he guest-conducted the 1965 D'Oyly Carte Princess Ida.
Princess Ida: Prelude
New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded Oct.-Dec. 1954
Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded 1961
Royal Philharmonic Orchestra, Sir Malcolm Sargent, cond. Decca, recorded May 1965
The slow tune, by the way, is from Ida's entrance song in Act II.
NOW WE CONTINUE ON INTO ACT II
The scene changes to Princess Ida's sanctuary, Castle Adamant, where she runs her women's academy. Prince Hilarion and his childhood friends Cyril and Florian slip into the premises disguised as women, and assorted mayhem ensues, until a larger problem develops: the arrival of King Hildebrand and his people to give Ida one last chance to honor her betrothal to Hilarion. To back up his claim, he issues a threat to Ida's hulking brothers.
Act II, "We may remark, though nothing can dismay us"
ARAC, GURON, and SCYNTHIUS:
We may remark, though nothing can
dismay us,
that if you thwart this gentleman,
he'll slay us.
We don't fear death, of course -- we're taught
to shame it;
but still upon the whole we thought
we'd name it.
SCYNTHIUS: Yes!
GURON: Yes!
ARAC: Yes!
ALL THREE: Better p'r'aps to name it.
ARAC, GURON, and SCYNTHIUS:
Our interests we would not press
with chatter;
three hulking brothers more or less
don't matter!
If you'd pooh-pooh this monarch's plan,
pooh-pooh it,
but when he says he'll hang a man,
he'll do it!
SCYNTHIUS: Yes!
GURON: Yes!
ARAC: Yes!
ALL THREE: Devil doubt he'll do it!
PRINCESS IDA: Be reassured, nor fear his anger blind;
his menaces are idle as the wind.
He dares not kill you -- vengeance lurks behind!
ARAC, GURON, and SCYNTHIUS:
We rather think he dares, but never, never mind!
KING HILDEBRAND [entering]:
I rather think I dare, but never, never mind!
ARAC, GURON, and SCYNTHIUS: No! No! No!
Donald Adams (bs), Arac; John Banks (bs), Guron; Trevor Hills (b), Scynthius; Victoria Sladen (s), Princess Ida; Fisher Morgan (bs), King Hildebrand; New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded Oct.-Dec. 1954
Donald Adams (bs), Arac; Anthony Raffell (bs), Guron; George Cook (b), Scynthius; Elizabeth Harwood (s), Kenneth Sandford (bs-b), King Hildebrand; Royal Philharmonic Orchestra, Sir Malcolm Sargent, cond. Decca, recorded May 1965
NOW WE MOVE TO ACT III
Princess Ida's knightly brothers are preparing to defend their sister in mortal combat against King Hildebrand's men.
Act III: Chorus, "When anger spreads his wing" . . . Arac, "This helmet, I suppose, was meant to ward off blows"
SOLDIERS: When anger spreads his wing,
and all seems dark as night for it,
there's nothing but to fight for it,
but ere you pitch your ring,
select a pretty site for it.
(This spot is suited quite for it.)
And then you gaily sing,
and then you gaily sing:
"Oh I love the jolly rattle
of an orde-al by battle;
there's an end of tittle-tattle
when your enemy is dead.
It's an arrant molly-coddle
fears a crack upon his noddle
and he's only fit to swaddle
in a downy featherbed!
Oh, I love the jolly rattle," etc.
LADIES: For a fight's a kind of thing
that I love to look upon;
so let us sing,
Long live the King,
and his son Hilarion!
In the intervening spoken dialogue, PRINCE HILARION and his friends CYRIL and FLORIAN, who have entered Castle Adamant disguised as women, are brought out in women's clothes, and are promptly ridiculed by the entering KING GAMA. They exit, leaving PRINCESS IDA's hulking brothers to prepare for battle.
Song
ARAC: This helmet, I suppose,
was meant to ward off blows.
It's very hot
and weighs a lot,
as many a guardsman knows,
as many a guardsman knows.
As many a guardsman knows,
as many a guardsman knows,
so off, so off that helmet goes.
GURON and SCYNTHIUS: Yes, yes, yes!
So off that helmet goes!
[Giving their helmets to attendants.]
ARAC: This tight-fitting cuirass
is but a useless mass.
It's made of steel
and weighs a deal.
This tight-fitting cuirass
is but a useless mass.
A man is but an ass
who fights in a cuirass.
So off, so off goes that cuirass.
GURON and SCYNTHIUS: Yes, yes, yes!
So off goes that cuirass!
[Removing cuirasses.]
ARAC: These brassets, truth to tell,
may look uncommon well,
but in a fight
they're much too tight;
they're like a lobster shell,
they're like a lobster shell!
GURON and SCYNTHIUS: Yes, yes, yes!
They're like a lobster shell.
[Removing their brassets.]
ARAC: These things I treat the same
[indicating leg pieces].
(I quite forget their name.)
They turn one's legs
to cribbage pegs --
their aid I thus disclaim,
their aid I thus disclaim.
Though I forget their name,
though I forget their name,
their aid, their aid I thus disclaim!
GURON and SCYNTHIUS: Yes, yes, yes!
BROTHERS and CHORUS: Their aid we/they)thus disclaim!
[They remove their leg pieces and wear close-fitting shape suits.]
Donald Adams (bs), Arac; John Banks (bs), Guron; Trevor Hills (b), Scynthius; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded Oct.-Dec. 1954
Donald Adams (bs), Arac; Anthony Raffell (bs), Guron; George Cook (b), Scynthius; D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Sir Malcolm Sargent, cond. Decca, recorded May 1965
NOW WE MOVE TO ACT III
Yes, there's an Act III! Princess Ida is the only G-and-S opera in three acts. Princess Ida's knightly brothers are preparing to defend their her in mortal combat against King Hildebrand's men.
Act III: Chorus, "When anger spreads his wing" . . . Arac, "This helmet, I suppose, was meant to ward off blows"
SOLDIERS: When anger spreads his wing,
and all seems dark as night for it,
there's nothing but to fight for it,
but ere you pitch your ring,
select a pretty site for it.
(This spot is suited quite for it.)
And then you gaily sing,
and then you gaily sing:
"Oh I love the jolly rattle
of an orde-al by battle;
there's an end of tittle-tattle
when your enemy is dead.
It's an arrant molly-coddle
fears a crack upon his noddle
and he's only fit to swaddle
in a downy featherbed!
Oh, I love the jolly rattle," etc.
LADIES: For a fight's a kind of thing
that I love to look upon;
so let us sing,
Long live the King,
and his son Hilarion!
In the intervening spoken dialogue, PRINCE HILARION and his friends CYRIL and FLORIAN, who have entered Castle Adamant disguised as women, are brought out in women's clothes, and are promptly ridiculed by the entering KING GAMA. They exit, leaving PRINCESS IDA's hulking brothers to prepare for battle.
Song
ARAC: This helmet, I suppose,
was meant to ward off blows.
It's very hot
and weighs a lot,
as many a guardsman knows,
as many a guardsman knows.
As many a guardsman knows,
as many a guardsman knows,
so off, so off that helmet goes.
GURON and SCYNTHIUS: Yes, yes, yes!
So off that helmet goes!
[Giving their helmets to attendants.]
ARAC: This tight-fitting cuirass
is but a useless mass.
It's made of steel
and weighs a deal.
This tight-fitting cuirass
is but a useless mass.
A man is but an ass
who fights in a cuirass.
So off, so off goes that cuirass.
GURON and SCYNTHIUS: Yes, yes, yes!
So off goes that cuirass!
[Removing cuirasses.]
ARAC: These brassets, truth to tell,
may look uncommon well,
but in a fight
they're much too tight;
they're like a lobster shell,
they're like a lobster shell!
GURON and SCYNTHIUS: Yes, yes, yes!
They're like a lobster shell.
[Removing their brassets.]
ARAC: These things I treat the same
[indicating leg pieces].
(I quite forget their name.)
They turn one's legs
to cribbage pegs --
their aid I thus disclaim,
their aid I thus disclaim.
Though I forget their name,
though I forget their name,
their aid, their aid I thus disclaim!
GURON and SCYNTHIUS: Yes, yes, yes!
BROTHERS and CHORUS: Their aid we/they)thus disclaim!
[They remove their leg pieces and wear close-fitting shape suits.]
Donald Adams (bs), Arac; John Banks (bs), Guron; Trevor Hills (b), Scynthius; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded Oct.-Dec. 1954
Donald Adams (bs), Arac; Anthony Raffell (bs), Guron; George Cook (b), Scynthius; D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Sir Malcolm Sargent, cond. Decca, recorded May 1965
I PLANNED TO OFFER ADDITIONAL PERFORMANCES
So we could hear the margin of superiority of Donald Adams's Sir Roderic and Arac. Luckily, in a ghost post anything goes -- there are no expectations. But we can listen to this much:
Ruddigore: Act II, Chorus of Pictures, "Painted emblems of a race" . . . Sir Roderic, "When the night wind howls in the chimney cowls"
Martyn Green (b), Sir Ruthven Murgatroyd; Darrell Fancourt (bs), Sir Roderic Murgatroyd; D'Oyly Carte Opera Chorus, New Promenade Orchestra, Isidore Godfrey, cond. Decca, recorded July-Aug. 1950
George Baker (b), Sir Ruthven Murgatroyd; Joseph Rouleau (bs), Sir Roderic Murgatroyd; Glyndebourne Festival Chorus, Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Dec. 11-14, 1962
Ruddigore: Act II, Ballad, Dame Hannah (with Sir Roderic), "There grew a little flower 'neath the great oak tree"
Ella Halman (c), Dame Hannah; Darrell Fancourt (bs), Sir Roderic Murgatroyd; New Promenade Orchestra, Isidore Godfrey, cond. Decca, recorded July-Aug. 1950
Monica Sinclair (c), Dame Hannah; Joseph Rouleau (bs), Sir Roderic Murgatroyd; Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Dec. 11-14, 1962
At some point it would still be nice to hear Bertha Lewis's "There grew a little flower 'neath the great oak tree."
#
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