GondoliersGilbert & Sullivan

The Ohio Light OperaJ. Lynn Thompsonconductor

Steven Daigleartistic director

The

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Music.......................Sir Arthur SullivanLibretto............................W. S. GilbertConductor...............J. Lynn ThompsonStage Director.................Steven DaigleCAST:

Duke of Plaza-Toro......Ted ChristopherDuchess............................Sandra RossDon Alhambra....................Gary MossMarco.................................Jack BeetleGiuseppe....................Nicholas HartleyGianetta.............Kemper LeCroy-FlorinTessa..................Sahara Glasener-BolesCasilda............Anne Marie FrohnmayerLuiz....................................Adam LloydInez.......................Jessie Wright MartinFiametta....................Donata CucinottaAntonio..........................Joseph ValoneTHE ENSEMBLE:Jacob Allen, Anthony Buck, Peter Bush,Michael Denos, Ashly Evans, Karla Hughes,Amanda Kingston, Grant Knox, David KrohnClaire Maloney, Danielle McCormick, ElizabethMitchell, Tyler Oliphant, Valerie Hart Nelson, JillAnna Ponasik, Benjamin Robinson, Brian Tanner,Maren Tenney

Program NotesThe Gondoliers, the sunniest of all theSavoy operas, was preceded by dissensionand followed by the bitterest of quarrelsbetween its collaborators. After Yeomenof the Guard (1888), Gilbert and Sullivanexchanged peevish letters, each accusingthe other of swamping his efforts. D’OylyCarte attempted to make peace betweenthe two, and they began their new col-laboration, in Gilbert’s words, as “masterand master —and not as master and ser-vant.” (One wonders, in the latter, sup-posedly ideal, arrangement, just whowas which?)

During the premiere of The Gondoliersat the Savoy in London on December 7,1889, the demand for encores almostdoubled the length of Act I. Critics praisednot only score and libretto, but also lavishsets and costumes. One local paper calledattention to the short skirts worn by thechorus, revealing “to a curious world thatthe Savoy chorus are a very well-leggedlot.” Punch celebrated the occasion witha cartoon depicting author and composerdressed as the joint rulers of Barataria:“Monarchs of all they Savoy.” The initialrun of 554 performances in London wasnot matched in the U.S. where meagrebox office receipts prompted a local wagto refer to it as “The Gone Dollars.”

GondoliersThe

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Plot SynopsisAt birth, Casilda, the daughter of the Duke and Duchess of the Spanish principality ofPlaza-Toro, was married by proxy to the then infant son of the wealthy King ofBarataria. That king thereafter became a Wesleyan Methodist. The Grand Inquisitor,intent that this alarming religious trend should not continue, arranged that the youngprinceling be kidnapped and taken to Venice. There he has been placed in the care ofa respectable gondolier, who supposedly has raised him along with his own son.

At the opening of our operetta, some twenty years have passed. Casilda is nowgrown and arrives in Venice with her eccentric and completely improverished royal

Sir Arthur Sullivan and W.S. Gilbert

In Gilbert’s first installment sent to Sullivan, the opening nine pages of the new librettocalled for continuous music, which in the final score (CD I, TRACK 2), amounts to anopening scene of almost 17 minutes without spoken dialogue, unusual for G&S. It was alsoGilbert’s intention in fashioning the new work to give a mild rebuke to certain principals ofthe D’Oyly Carte troupe who had become, in his opinion, too self-important. On the notionof “all shall equal be” which is a theme of the entire work, he distributed the solos amongnine major roles evenly and gave the chorus much prominence. At the same time, Gilbert

pokes fun at so-called “republican principals”throughout and, to be even-handed, depicts thehaughty Plaza-Toro contingent as nincompoops.

Sullivan, whose mother was of Italian descent,had visited Venice earler that year and was de-lighted by Gilbert’s setting for the new work. Inseveral instances in his score, he produces rhythmsand harmonies heard in popular Italian songs, andin the opening scene, whole sections employcharming textbook (and often “Gilbertized”) Italian.

Following a performance of The Gondoliers at Windsor Castle a year after the premiere,Queen Victoria wrote in her diary that Sullivan’s music “which I know and am very fond of,is quite charming throughout...and the dialogue by Gilbert is very amusing.” What themonarch thought of the highly publicized quarrel between the two creators she did notrecord. A reconciliation was thereafter attempted, and although Utopia Limited and TheGrand Duke did later appear, the great period of joint creativity was at an an end.

parents served by a single courtier, Luiz. The Duke means to lay their claim to the royalPrince who will, hopefully, bankroll him.

Meanwhile, the two Venetian boys, Marco and Giuseppe, unaware of the arrange-ments their now-deceased father has made, are gondoliers themselves. They knownothing of royalty; indeed, they espouse highly republican princpals of equality. Theyeach select a bride—Tessa and Gianetta—from two dozen available local girls and arehappily wed.

The gloomy Inquisitor, Don Alhambra, arrives to tell them that one of them is theheir apparent to the throne of Barataria and will have to sacrifice his Venetian spouse inorder to marry Casilda. Casilda herself loves Luiz; she also has not known of her royalbetrothal in infancy. Don Alhambra determines the two young men must go off toBarataria and rule jointly—they are allowed to bring their gondolier friends, but nottheir wives—until all has been sorted out.

Everyone ultimately turns up in Barataria, where strictest republican principals areobserved; an old nursemaid is found who reveals that neither Marco nor Giuseppe,but the faithful courtier Luiz, is the actual heir—so all the couples are reunited as theyoriginally were and all ends, insanely but happily.

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From the Artistic DirectorFor more than 25 years, The Ohio Light Opera has been dedicated to producing,promoting and preserving the best of the traditional operetta repertoire. In any summerseason, close to 25,000 patrons come to hear and see nearly seventy performances ofseven productions on the beautiful campus of The College of Wooster in Ohio. Theseshows offer the operetta fan a little of everything: a well-known Gilbert and Sullivan, alesser-known Gilbert and Sullivan (such as this recording of The Gondoliers), a Vienneseoperetta, a French operetta, an American operetta and a revival of a long-forgottenwork that is given a much-deserved rebirth for an appreciative audience.This CD set willhopefully give the operetta aficionado a taste of what makes this company unique. The support of the College of Wooster, its community and nearly 500,000 patrons whohave championed the company's dedication to operetta have given OLO a reputationthat reaches internationally. In no small way, Albany Records has added to thecompany's success. The company and the operetta art form are indebted to JohnOstendorf and Albany for their commitment. Steven Daigle

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ACT IOVERTURE CD ONE, TRACK 1

CHORUS TRACK 2A summer morning in Venice, outsidethe Ducal Palace.Country GirlsList and learn, ye dainty roses,Roses white and roses red,Why we bind you into posiesEre your morning bloom has fled.By a law of maiden’s makingAccents of a heart that’s aching,Even though that heart be breaking,Should by maidens be unsaid:Though they loveWith love exceeding,They must seem to be unheeding.Go ye then and do their pleading,Roses white and roses red.List and learn...

GondoliersThe

Fiametta, then AllTwo there are for whom, in duty,Every maid in Venice sighs,Two so peerless in their beautyThat they shame the summer skies.We have hearts for them in plenty,They have hearts, but all too few.We, alas, are four and twenty!They, alas, are only two...Now ye know, ye dainty rosesRoses red and roses white,Why we bind you into posiesEre your morning bloom has fled...Francesco (arrives with other men)Good morrow, pretty maids.For whom prepare yeThese floral tributes extraordinary?FiamettaFor Marco and Giuseppe Palmieri, thePink and flower of all the gondolieri.

GiuliaThey’re coming here,As we have learnedBut lately, to choose two bridesFrom us who sit sedately.AntonioDo all you maidens love them?WomenPassionately!AntonioThese gondoliersAre to be envied greatly!GiorgioBut what of us,Who one and all adore you?Have pity on our passion,We implore you.FiamettaThese gentlemen must makeTheir choice before you.VittoriaIn the meantime,We tacitly ignore you.GiuliaWhen they have chosen two,That leaves you plenty: two dozen weAnd ye are four and twenty.BothTil then, enjoy your dolce far niente.Antonio and AllWith pleasure! Nobody contradicente.For the merriest fellows are we.Tra la, tra la...That ply on the emerald sea.For loving and laughing

Venetian maidens await the gondoliers

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And quipping and quaffing,We’re happy as happy can be... Tra la!With sorrow we’ve nothing to do,And care is a thing to pooh-pooh.With jealousy yellow,Unfortunate fellow we drownIn the shimmering blue... Tra la!Fiametta (looking off)See! See!At last they come to make their choice.Let us acclaim them with united voice.WomenHail! Hail! Gallant gondolieri.Ben venuti! Accept our love,Our homage and our duty...Marco, Giuseppe (enter by boat)Buon giorno, signorine!WomenGondolieri carissimi! Siamo contadine.The Two (receiving the flowers)Servitori umilissimi!Perchè questi fiori bellissimi?WomenPer lei, bei signori, o eccellentissimi.Buon giorno, cavalieri!The Two, the womenO Ciel! Siamo gondolieri.Signorina, io t’amo. Poveri gondolieri!(They continue for a while in this vein.)Marco, GiuseppeWe’re called gondolieri,But that’s a vagary: it’s quite honorary,The trade that we ply.For gallantry noted,Since we were short-coated,To beauty devoted, Giuseppe and I!When morning is breaking,Our couches forsaking,To greet their awakingWith carols we come.

When weary lagooning,Our mandolins tuning,We lazily thrum. Tra la la la la...When vespers are ringing,To hope ever-clinging,With songs of ours singing,A vigil we keep.When daylight is fading,Enwrapped in night’s shading,With soft serenading,We lull them to sleep.We’re called gondolieri... Tra la la...Both MenAnd now to choose our brides.As all are young and fair, and amiablebesides, we really do not care a pre-ference to declare. A bias to disclosewould be indelicate. And therefore,we propose to let impartial Fateselect for us a mate.AllA bias to disclose would be indelicate.But how do they propose to let im-

partial Fate select for them a mate?GiuseppeThese handkerchiefs upon our eyesBe good enough to bind.MarcoAnd take good careThat both of us are absolutely blind.BothThen turn us round and we,With all convenient despatch,Will undertake to marryAny two of you we catch.WomenViva! They undertake to marryAny two of us they catch.Fiametta (as the eyes of the twomen are bound) Are you peeping?Can you see me?MarcoDark I’m keeping,Dark and dreamy and dreamyVittoriaIf you’re blinded truly, say so!

Gianetta (Kemper Lecroy Florin) blindfolds Marco (Jack Beetle) and Giuseppe(Nicholas Hartley) holds Tessa (Sahara Glasener-Boles)

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Giuseppe (peeking)All right-minded players play so.Fiametta (catching this)Conduct shady! They are cheating!Surely they deserve a beating.VittoriaThis too much is, maidens shocking.Conduct such is truly shocking.WomenYou can spy, sir. Shut your eye, sir.You may use it, by and bye, sir.You can see, sir, don’t tell me, sir.That will do, now let it be, sir.Fie, for shame...Women (turning the men around)My papa he keeps three horses,Black and whiteAnd dapple grey, sir.Turn three times,Then take your courses,Catch whichever girl you may, sir.Giuseppe (peeking, grabs Tessa)I’ve at length acheived a capture.This is Tessa. Rapture! Rapture!AllRapture? Rapture?Marco (has grabbed Gianetta)To me Gianetta Fate has granted.Just the very girl I wanted!All (somewhat sourly)Just the very girl he wanted.Giuseppe (to Tessa, teasing)If you’d rather change...?TessaMy goodness!This indeed is simple rudeness!Marco (also pretending)I’ve no preference whatever...GianettaListen to him. Well, I never!

(The couples remain as they are.)Thank you, gallant gondolieri,In a set and formal measure,It is scarcely necessary,To express our pleasure.Each of us to prove a treasure,Conjugal and monetary,Gladly will devote our leisure,Gallant gondolieri. La la la. Tra la la...TessaGay and gallant gondolieri,Take us both and hold us tightly.You have luck extraordinary.We might have both been unsightly.If we judge your conduct rightly,‘Twas a choice involuntary.Still, we thank you most politely,Gay and gallant gondolieri. Tra la la...All (join in, in this same vein)Tra la la...Fate in this has put his finger.Let us bow to Fate’s decree.Then no longer let us linger.To the altar hurry we. Tra la la...(All go happily off.)

Quartet TRACK 3

(Brass and drums are heard. The Dukeand Duchess of Plaza-Toro wearilyarrive, with daughter Princess Casildaand Luiz, the loyal court drummer.)DukeFrom the sunny Spanish shore,the Duke of Plaza-Tor’...DuchessAnd His Grace’s Duchess trueCasildaAnd His Grace’s daughter too

LuizAnd His Grace’s private drum,To Venetia’s shores have come.All FourAnd if ever they get back to SpainThey will never, never, neverCross the sea again...DukeNeither that GrandeeFrom the Spanish shore,The noble Duke of Plaza-Tor’...DuchessNor His Grace’s Duchess,Staunch and true,CasildaYou may addHis Grace’s daughter too.LuizNor His Grace’sOwn particular drumTo Venetia’s shoresAnymore will come.All FourIf ever...

Dialogue TRACK 4

Duke (looks about, wearily)At last we have arrived at ourdestination. This is the Ducal Palace,and it is here that the GrandInquisitor resides. As a Castilianhildalgo of 95 quarterings, I regretthat I am unable to pay my statevisit on a horse. As a Castilianhidalgo of that description, I shouldhave preferred to ride through thestreets of Venice, but owing, Ipresume, to an unusually wetseason, the streets are in such acondition that equestrian exercise is

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impracticable. No matter. Where isour suite?Luiz (stepping forward)Your Grace, I am here.Duchess (imperiously, to Luiz)Why do you not do yourself the honorto kneel when you address His Grace.DukeMy love, it is so small a matter. (to Luiz)Still, you may as well do it. (He does.)CasildaThe young man seems to entertainbut an imperfect appreciation of therespect due from a menial to aCastilian hidalgo.DukeMy child, you are hard upon our suite.CasildaPapa, I’ve no patience with thepresumption of persons in his plebianposition. If he does not appreciate

that position, let him be whippeduntil he does.DukeLet us hope that the omission was notintended as a slight. I should be muchhurt if I thought it was. So would he.(to Luiz) Where are the halberdierswho were to have had the honor ofmeeting us here, that our visit to theGrand Inquisitor might be made inbecoming state?LuizYour Grace, the halberdiers aremercenary people who stipulatedfor a trifle, on account.DukeHow tiresome! Well, let us hope thatthe Grand Inquisitor is a blindgentleman. And the band who were tohave had the honor of escorting us? I

see no band.LuizYour Grace, the band are sordidpersons who required to be paidin advance!DuchessThat’s so like a band.Duke (annoyed)Insuperable difficulties meet meat every turn!DuchessBur surely they know His Grace.LuizExactly. They know His Grace.DukeWell, let us hope that the GrandInquisitor is a deaf gentleman. Acornet-à-piston would be something.You do not happen to possess theaccomplishment of tootling like acornet-à-piston?LuizAlas, no, your Grace. But I can imitatea farmyard. (He demonstrates, but isinterrupted.)DukeI don’t see how that can help us. Idon’t see how we could bring it in.CasildaIt would not help us in the least. Weare not a parcel of graziers come tomarket, dolt!DukeMy love, our suite’s feelings! (to Luiz)Be so good as to ring the bell andinform the Grand Inquisitor that HisGrace the Duke of Plazatoro, CountMatadoro, Baron Picadoro...DuchessAnd suite!

The Duke (Ted Christopher) and Duchess (Sandra Ross) of Plaza-Toro

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DukeAnd suite have arrived at Veniceand seek...CasildaDesire!DuchessDemand!DukeAnd demand an audience.Luiz (going)Your Grace has but to command.DukeI felt sure of it... (to the Duchess) Andnow my love, shall we tell her? I thinkwe shall. (to Casilda) And now, mylove, prepare for a magnificent surprise.It is my agreeable duty to reveal to youa secret which should make you thehappiest young lady in Venice.CasildaA secret?DuchessA secret which, for State reasons,it has been necessary to preserve fortwenty years.DukeWhen you were a prattling babe ofsix months old, you were married byproxy to no less a personage than theinfant son of His Majesty, the immeas-ureably wealthy King of Barataria!CasildaMarried to the infant son of the King ofBarataria? Was I consulted? (The Dukeshakes his head.) Then it was a mostunpardonable liberty.DukeConsider his extreme youth and forgivehim. Shortly after the ceremony, thatmisguided monarch abandoned the

creed of his forefathers and becamea Wesleyan Methodist of the mostbigoted and persecuting type. TheGrand Inquisitor, determined that theinnovation should not be perpetuatedin Barataria, caused your smiling andunconscious husband to be stolen andconveyed to Venice. A fortnight since,the Methodist Monarch and all hisWesleyan Court were killed in aninsurrection, and we are here to as-certain the whereabouts of your hus-band, and to hail you, our daughter, asHer Majesty, the reigning Queen ofBarataria!Duchess (She and the Duke kneel.)Your majesty!DukeIt is at such moments as these thatone feels how necessary it is to travelwith a full band!CasildaI, the Queen of Barataria! Oh, butI’ve nothing to wear. We are prac-tically penniless.DukeThat point has not escaped me. Al-though I am, unhappily, in straitenedcircumstances at present, my socialinfluence is something enormous, anda company, to be called the Duke ofPlazatoro, Ltd., is in course of forma-tion to work me. An influential di-rectorate has been secured, and I shallmyself join the Board after allotment.CasildaAm I to understand that the Queen ofBarataria may be called upon at any timeto witness her honored sire in process

of liquidation?DuchessThe speculation is not exempt fromthat drawback. If your father shouldstop, it will, of course, be necessaryto wind him up.CasildaBut it’s so undignified. It’s sodegrading. A Grandee of Spainturned into a public company. Sucha thing was never heard of.DukeMy child, the Duke of Plazatorodoes not follow fashions—he leadsthem! He always leads everybody.When he was in the army, he led hisregiment. He occasionally led theminto action; he invariably led themout of it.

Luiz (Adam Lloyd) with Princess Casilda(Anne Marie Frohnmayer)

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Song TRACK 5

DukeIn enterprise of martial kind,When there was any fighting,He led his regiment from behind.He found it less exciting.But when away his regiment ran,His place was always at the fore, O!That celebrated, cultivated, underratedNobleman, the Duke of Plaza-Toro!All FourIn the first and foremost flight, ha ha!You always found that knight, ha ha!That celebrated...DukeWhen to evade destruction’s hand,To hide they all proceeded.No soldier in that gallant bandDid half as well as he did.He lay concealed throughout the war,And so preserved his gore, O! ThatUnaffected, undetected, well-connectedWarrior, the Duke of Plazatoro.All FourIn every doughty deed, ha, ha!He always took the lead, ha, ha!That unaffected...DukeWhen told that they would all be shotUnless they left the service,That hero hesitated not,So marvellous his nerve is.He sent his resignation in,The first of all his corps, O! ThatVery-knowing, overflowing, easy-goingPalladin, the Duke of Plazatoro.All FourTo men of grosser clay. ha, ha!He always showed the way, ha, ha!That very knowing...

Duet TRACK 6

Casilda, Luiz (left alone after Dukeand Duchess depart) Oh, rapture!When alone together, two lovinghearts and those that bear them, mayjoin in temporary tether, tho’ Fateapart should rudely tear them.CasildaNecessity, invention’s mother,Compelled me to a course of feigning.But, left along with one another,I will atone for my disdaining.(embracing Luiz)Ah, well beloved, mine angry frownIs but a gown that serves to dressMy gentleness.LuizAh, well beloved, thy cold disdainIt gives no pain.‘Tis mercy played in masquerade.BothAh, well beloved!....

Dialogue TRACK 7

CasildaOh, Luiz, what have you said? Whathave I done. What have I allowedyou to do?LuizNothing I trust that you will everhave reason to repent.CasildaNay, Luiz, it may not be. I have em-braced you for the last time.LuizCasilda!CasildaI have just learnt, to my surprise and

indignation, that I was wed in baby-hood to the infant son of the Kingof Barataria.LuizThe son of the King of Barataria?The child who was stolen in infancyby the Inquisition?CasildaThe same. But, of course, youknow his story.LuizKnow his story? Why, I have oftentold you that my mother was thenurse to whose charge he wasentrusted.CasildaTrue. I had forgotten. Well, he hasbeen discovered, and my father hasbrought me here to claim his hand.LuizBut you will not recognize thismarriage. It took place when you weretoo young to understand its import.CasildaNay, Luiz, respect my principlesand cease to torture me with vainentreaties. Henceforth, my life isanother’s.LuizBut stay. The present and the future—they are another’s. But the past—thatat least is ours and none can take itfrom us. As we may revel in naughtelse, let us revel in that!CasildaI don’t think I grasp your meaning.LuizYet it is logical enough. You say youcease to love me?

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CasildaI say I may not love you.LuizAh, but you do not say you didnot love me.CasildaI loved you with a frenzy that wordsare powerless to express, and that butten brief minutes since.LuizExactly. My own—that is, until tenminutes since, my own—my latelyloved, my recently adored, tell methat until, say, a quarter of an hourago, I was all in all to thee!Casilda (as he tries to kiss her)Oh, I see your idea. It’s ingenious,but don’t do that!LuizThere can be no harm in revelling inthe past.CasildaNone whatever. But an embrace can-not be taken to act retrospectively.LuizPerhaps not.CasildaWe may recollect an embrace.I recollect many. But we must notrepeat them.LuizThen...let us recollect a few. (They do.)Ah, Casilda, you were to me as thesun is to the earth.CasildaA quarter of an hour ago?LuizAbout that.CasildaAnd to think that, but for this

miserable discovery, you would havebeen my own for life.LuizThrough life and death—a quarterof an hour ago.CasildaAh how greedily my thirsty ears wouldhave drunk the golden melody ofthose sweet words a quarter—well,it’s now about twenty minutes since.Luiz (checking his watch)About that. In such a matter onecannot be too precise.CasildaAnd now our love, so full of life, isbut a silent, solemn memory.LuizMust it be so, Casilda?CasilaLuiz, it must be so.

Duet TRACK 8

LuizThere was a time, a time forever gone,Ah, woe is me,It was no crime to love but thee alone,Ah, woe is me,One heart, one life, one soul,One aim, one goal,Each in the other’s thrall,Each all in all. Ah, woe is me...BothOh, bury, bury. Let the grave closeO’er the days that were,That never will be more.Oh, bury, bury love that all condemn,And let the whirlwindMourn its requiem.

CasildaDead as the last year’s leaves,As gathered flowers, ah, woe is me.Dead as the garnered sheave,That love of ours. Ah, woe is me.Born but to fade and dieWhen hope was high.Dead and as far away as yesterday,Ah, woe is me.BothOh, bury, bury...

Dialogue TRACK 9

Duke (enters from the palace withthe Duchess and Don Alhambra,theGrand Inquisitor) My child, allow meto present to you His DistinctionDon Alhambro del Bolero, theGrand Inquisitor of Spain. It was HisDistinction who so thoughtfullyabstracted your infant husband andbrought him to Venice.Don AlhambraSo... This is the little lady who is sounexpectedly called upon to assumethe functions of royalty! And a verynice little lady, too.DukeJimp, isn’t she?

The Grand Inquisitor, Don Alhambra(Gary Moss)

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Don AlhambraDistinctly “jimp.” Allow me. (offershis hand to Casilda, who haughtilyturns away) Naughty temper!DukeYou must make some allowance.Her Majesty’s head is a little turnedby her recent access of dignity.Don AlhambraI could have wished that HerMajesty’s access of dignity hadturned in this direction.Duchess (changing the subject)Unfortunately, if I am not mistaken,there appears to be some little doubtas to His Majesty’s whereabouts.Casilda (quietly, to Luiz)(A doubt as to his whereabouts? OLuiz, then we may yet be saved!)Don AlhambraA doubt? Oh dear no. No doubt at all.He is here in Venice, playing the modestbut picturesque calling of a gondolier.I can give you his address. I see himevery day. In the entire annals of ourhistory, there is absolutely no circum-stance so entirely free of all manner ofdoubt of any kind, whatever. Listen,and I‘ll tell you all about it.

Song TRACK 10

Don AlhambraI stole the princeAnd I brought him hereAnd left him, gaily prattling,With a highly respectable gondolierWho promised the royal babe to rearAnd teach him the trace of a timoneerWith his own beloved brat-ling.

Both of the babes were strong and stoutAnd, considering all things, clever.Of that there is no manner of doubt,No probable, possible shadow of doubt,No possible doubt whatever.AllNo possible doubt whatever.Don AlhambraBut owing, I’m much disposed to fearTo his terrible taste for tippling,That highly respectable gondolierCould never declareWith a mind sincere whichOf the two was his offspring dear,And which the Royal stripling.Which was whichHe could never work out,Despite his best endeavor.Of that there is no possible doubt...All FourNo possible doubt whatever.Don AlhambraTime sped and when,At the end of a year,I sought that infant cherished,That highly respectable gondolierWas lying a corpse on his humble bier.I dropped a Grand Inquisitor’s tear.That gondolier had perished.A taste for drink, combined with gout,Had doubled him up forever.Of that there is no....All FourNo possible doubt...Don AlhambraThe children followed his old career—This statement can’t be parried—Of a highly respectable gondolier.Well, one of the two

Who will soon be here— butWhich of the two is not quite clear—Is the Royal Prince you married.Search in and out and round aboutAnd you’ll discover never a taleSo free from every doubt...AllA tale so free from...

Scene TRACK 11

CasildaThen do you mean to say that I ammarried to one of two gondoliers,but it is impossible to say which?Don AlhambraWithout any doubt of any kind,whatever. But be reassured: thenurse to whom your husband wasentrusted is the mother of thatmusical young man who is such apast-master of that delicatelymodulated instrument (indicatingLuiz’ drum). She can, no doubt,establish the King’s identity beyondall question.Luiz (aside)Heavens. How did he know that?Don Alhambra (has heard)My young friend, a Grand Inquisitoris always up to date. (to the Duke,indicating Luiz) His mother is atpresent the wife of a highlyrespectable and old-establishedbrigand, who carries on an extensivepractice in the mountains aroundCordova. Accompanied by two of myemissaries, he will set off at once forhis mother’s address. She will returnwith them, and if she finds any

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difficulty in making up her mind, thepersuasive influence of the torturechamber will jog her memory.CasildaBut, bless my heart, consider myposition. I am the wife of one, that’svery clear. But who can tell, except byintuition, which is the Prince andwhich the Gondolier?Don AlhambraSubmit to fate without unseemlywrangle. Such complications frequentlyoccur. Life is one closely complicatedtangle. Death is the only true unraveller!

Quintet TRACK 12

All FiveTry we lifelong, we can neverStraighten out life’s tangled skein.Why should we, in vain endeavor,Guess and guess and guess again?Life’s a pudding full of plums.Care’s a canker that benumbs...Wherefore waste our elocutionOn impossible solution?Life’s a pleasant institution.Let us take it as it comes...Set aside the dull enigma.We shall guess it all too soon.Failure brings no kind of stigma.Dance we to another tune...String the lyre and fill the cup...Lest on sorrow we should sup.Hop and skip to Fancy’s fiddle.Hands across and down the middle.Life’s perhaps the only riddleThat we shrink from giving up.Then take it as it comes.String the lyre...(They all happily go off.)

Scene TRACK 13

All (entering in wedding garb)Bridegroom and bride,Knot that’s insoluble,Voices all voluable, hail it with pride.We in sincerity wish you prosperity,Bridegroom and bride...Tessa, AllWhen a merry maiden marries,Sorrow goes and pleasure tarries.Every sound becomes a song.All is right and nothing’s wrong.From today and ever afterLet our tears be tears of laughter.Every sigh that finds a ventBe a sigh of sweet content.When you marry merry maiden,Then the air with love is laden.Every flower is a rose,Every goose becomes a swan.Every kind of trouble goesWhere the last year’s snows have gone.Sunlight takes the place of shadeWhen you marry merry maid.Sorrow goes and pleasure tarries,All is right and nothing’s wrong.

When a merry maiden...Gnawing care and aching sorrow,Get ye gone until tomorrow.Jealousies in grim array,Ye are things of yesterday.When you marry merry maiden...All the corners of the earthRing with music swqeetly played,Worry is melodious mirth,Grief is joy in masquerade.Sullen night is laughing day. Ah!All the year is merry May...

Dialogue TRACK 14

GiuseppeAnd now our lives are going tobegin in real earnest. What’s abachelor? A mere nothing. He’s achrysalis. He can’t be said to live—he exists!MarcoWhat a delightful institution marriageis. Why have we wasted all this time?Why didn’t we marry ten years ago?TessaBecause you couldn’t find anybodynice enough.GianettaBecause you were waiting for us!MarcoI suppose that was the reason.We were waiting for you withoutknowing it! Allo!Don Alhambra (coming in)Good morning.Giuseppe (suspicious, aside)If this gentleman is an undertaker,it’s a bad omen.Don AlhambraCeremony of some sort going on?GiuseppeHe is an undertaker. (to him) No. Alittle unimportant family gathering.Nothing in your line.Don AlhambraSomebody’s birthday, I suppose?All FourYes. Mine! And mine.Don AlhambraCurious coincidence. And howold may you all be?TessaIt’s a rude question—but, about

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ten minutes.Don AlhambraRemarkably fine children. Butsurely you are jesting.TessaIn other words, we were marriedabout ten minutes since.Don Alhambra (alarmed)Married? You don’t mean to sayyou are married!MarcoOh, yes. We are married.Don AlhambraWhat? Both of you?AllAll four of us.Don AlhambraBless my heart, how extremelyawkward!GianettaYou don’t mind, I suppose?TessaYou were not thinking of eitherof us for yourself, I presume.Oh, Giuseppe, look at him. He was.He’s heartbroken.Don AlhambraNo, no. I wasn’t. I wasn’t.GiuseppeNow, my man, we don’t want any-thing in your line today, and if yourcuriosity’s satisfied, you can go.Don AlhambraYou mustn’t call me your “man.”It’s a liberty. I don’t think you knowwho I am.GiuseppeNot we, indeed! We are jollygondoliers, the sons of BaptistoPalmieri, who led the last revolution.

Republicans, heart amd soul. (DonAlhambra shudders; the others offerapproval.) We hold all men to be equal.As we abhor oppression, we abhor kings.As we detest vainglory, we detest rank.As we despise effeminacy, we despisewealth. We are Venetian gondoliers,your equals in everything except ourcalling. And in that at once your mastersand your servants.Don AlhambraBless my heart, how unfortunate. Oneof you may be Baptisto’s son, for any-thing I know to the contrary, but theother is no less a personage than theonly son of the late King of Barataria.AllWhat??Don AlhambraAnd I trust. I trust it was that onewho slapped me on the shoulder andcalled me “his man.”Marco (as all speak at once)But which is it?Don AlhambraWhat does it matter? As you both areRepublicans and hold kings in detes-tation, of course, you’ll abdicate at once.Good morning (starts to go).The GirlsOh no, don’t do that!GiuseppeWell, as to that, of course, there arekings and... kings. When I say that Idetest kings, I mean that I detestbad kings.Don AlhambraI see. It’s a delicate distinction.

GiuseppeQuite so. Now, I can conceive ofa kind of king, an ideal king, thecreature of my fancy, you know—who would be absolutely un-objectionable. A king, for instance,who would abolish taxes and makeeverything cheap—except forgondolas.MarcoAnd give a great many freeentertainments to the gondoliers.GiuseppeAnd let off fireworks on the GrandCanal, and engage all the gondolasfor the occasion.MarcoAnd scramble money on the Rialtoamong the gondoliers.GiuseppeSuch a king would be a blessingto his people, and if I were king,that is the sort of king I would be.MarcoAnd so would I.Don AlhambraCome, I am glad to find yourobjections are not insuperable.The MenOh, they’re not insuperable.The Girls (unsure of the term)No, they’re not in...su...perable.GiuseppeBesides, we’re open to conviction.GianettaYes, they are open to conviction.TessaOh, they’ve often been convicted.GiuseppeOur views may have been hastily

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formed on insufficient grounds. Theymay be crude, ill-digested, erroneous.I’ve a very poor opinion of the politicianwho is not open to conviction.TessaOh, he’s a fine fellow.GianettaThat’s the sort of politician for my money.Don AlhambraThen we’ll consider it settled.Now, as the country is in a state ofinsurrection, it is absolutely necessarythat you should assume the reins ofgovernment at once, and until it isascertained which of you is to beking, I have arranged that you willreign jointly, so that no question canarise thereafter as to the validity ofany of your acts.MarcoAs one individual?Don AlhambraAs one individual.Giuseppe (linking arms withMarco) Like this?Don AlhambraSomething like that.

MarcoAnd may we take our friends withus and give them places about theCourt?Don AlhambraUndoubtedly. That’s always done.MarcoI am convinced.GiuseppeSo am I.TessaThen the sooner we’re off the better!GianettaWe’ll just run home and pack up afew things...Don AlhambraStop, stop! That won’t do at all.Ladies are not admitted.AllWhat?Don AlhambraNot admitted. Not at present.Afterwards, perhaps. We’ll see.GiuseppeWhy, you don’t mean to say thatyou are going to separate us fromour wives?

Don AlhambraThis is very awkward. Only for atime. A few months. After all, whatis a few months?Tessa (weeping)But we’ve only been married halfan hour.

Finale TRACK 15

Gianetta (goes over to DonAlhambra)Kind sir, you cannot have the heartOur lives to part from thoseTo whom an hour agoWe were united.Before our flowing hopes you stem,Ah, look at them, and pause beforeYou deal this blow all uninvited.You men can never understand thatHeart and hand cannot be separatedWhen we go ayearning. You see,You’ve only women’s eyes to idolize,And only women’s hearts, poor men,To set you burning. Ah me!You men will never understandThat woman’s heartIs one with woman’s hand!Some kind of charmYou seem to find in womenkind,Some source of unexplained delight,Unless you’re jesting!But what attracts you, I confess,I cannot guess. To me, a woman ‘sFace is quite uninteresting.If from my sister I were torn,It could be borne.I should, no doubt, be horrified,But I could bear it.But Marco’s quite another thing:United as “one ruler,” Marco and Giuseppe prepare to sail for Barataria

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He is my King, he has my heart,And none beside shall ever share it.Ah me, you men...Don AlhambraDo not give wayTo this uncalled-for grief.This separation will be very brief.To ascertain which is the KingAnd which the other,To Barataria’s Court,I’ll bring his foster mother.Her former nurselling to declare,She’ll be delighted. That settled,Let each happy pair be reunited.The Two CouplesViva! His argument is strong.We’ll not be parted long.It will be settled soon.Then comes our honeymoon. Viva!Gianetta (to Tessa)Then one of us will be a QueenAnd sit on a golden throne,With a crown instead

Of a hat on her head,And diamonds all her own. With aBeautiful robe of gold and green,I’ve always understood. I wonderWhether she’ll wear a feather?I rather think she should!All FourOh ‘tis glorious thing, I ween,To be a regular royal Queen.No half and half affair,But a right-down,Regular, regular royal Queen.MarcoShe’ll drive aboutIn a carriage and pairWith the king on her left-hand side.And a milk-white horseAs a matter of course,Whenever she wants to ride.With beautiful silver shoes to wearUpon her dainty feet,With endless stocks of beautiful frocksAnd as much as she wants to eat.

All FourOh, ‘tis....TessaWhenever she condescends to walk,Be sure she’ll shine at that, with herHaughty stare and nose in the air,Like a well-born aristocrat.At elegant high-society talk,She’ll bear away the bellWith her “How-de-do?”And her “How are you?”And “I trust I see you well.”All FourOh, ‘tis...GiuseppeAnd noble lords will scrape and bowAnd double themselves in two,And open their eyes in blank surpriseAt whatever she likes to do.And everybody will roundly vowShe’s fair as flowers in May.And say “How clever!” at whatsoeverShe condescends to say.All FourOh, ‘tis...Neighbors, Gondoliers (entering)Now pray, what is the causeOf this remarkable hilarity?This sudden ebullitionOf unmitigated jollity?Has anybody blessed youWith a sample of his charity?Or have you been adoptedBy a gentleman of quality?Marco, Giuseppe (exchangingphrases between themselves)Replying, we sing as one individual.As I find I’m a king,To my kingdom I bid you all.I’m aware you object

Gianetta, Marco, Don Alhambra, Giuseppe and Tessa anticipate royal life.

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To pavilions and palaces,But you’ll find I respectYour Republican fallacies...AllAs they know, we objectTo pavilions and palaces.How can they respectOur Republican fallacies?Marco (to his fellow gondoliers)For everyone who feels inclined,Some post we undertake to find,Congenial with his frame of mind,All all shall equal be.GiuseppeThe chancellor in his peruke,The earl, the marquis and the duke,The groom, the butler and the cook,They all shall equal be.MarcoThe aristocrat who banks with Coutts,The aristocrat who hunts and shoots,The aristocrat who cleans our boots,They all shall equal be.GiuseppeThe noble lord who rules our state,The noble lord who cleans the plate,MarcoThe noble lord who scrubs the grate,They all shall equal be.GiuseppeThe Lord high Bishop orthodox,The Lord High Coachman on his boxMarcoThe Lord High VagabondIn the stocks, they all shall equal be.Both, then AllFor everyone...Sing high, sing low,Wherever they go.They all shall equal be...

Then hail, O King,Whichever you may be, to youWe sing but do not bend the knee...Marco, Giuseppe (to the girls)Come, let’s away.Our island crown awaits me.Conflicting feelingsRend my soul apart. The thoughtOf royal dignity elates me,But leaving thee behindBreaks my heart.Gianetta, TessaFarewell, my love.On board you must be getting.But while upon the seaYou gaily roam,Remember thatA heart for thee is fretting.The tender little heartYou’ve left at home.GianettaNow, Marco dear, my wishes hear:While you’re away, it’s understoodYou will be good and not too gay.To every trace of maiden graceYou will be blind and will not glanceBy any chance on womankind.If you are wise, you’ll shut your eyesTill we arrive and not addressA lady less than forty-five.You’ll please to frown on every gownThat you may see, and, oh, my pet,You won’t forget you’ve married me...Tessa (to Giuseppe)You’ll lay your head upon your bedAt set of sun. You will not singOf anything, to anyone. You’ll sitAnd mope all day, I hope.And shed a tear upon the life

Your little wife is passing here.And if so be, you think of me,Please tell the moon. I’ll read it allIn rays that fall on the lagoon.You’ll be so kind as tell the windHow you may be,And send me wordsBy little birds, to comfort me.And oh my darling, o my pet,Whatever else you may forget,In yonder isle beyond the sea,Do not forget you’ve married me!All FourOh, my darling...All (happily)Then away they goTo an island fairThat lies in a southern sea.We know not where,And we don’t much careWherever that isle may be.One, two three, haul with a will!When the breezes are blowingThe ship will be going.When they don’tThey shall all stand still.Then away...Away we go to a balmy isle. Away...Where the roses blowAll the winter while..Then away...The men embark.All wave happily as they sail off.)

END ACT ONEEND CD I

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ACT IIOpening CD II, TRACK 1A pavilion at the court of BaratariaCourtiers (formerly gondolieri)Of happiness the very pathTo Barataria you may see a monarchyThat’s tempted with republican equality.This form of government we findThe beau idéal of its kind.A despotism strict,Combined with absolute equality.Of happiness...Marco, Giuseppe (dressed regally)Two kings, of undue pride bereft,Who act in perfect unity,Whom you can order right and leftWith absolute impunity,Who put their subjects at their easeBy doing all they can to please.And thus, to earn their bread-n’-cheeseSeize every opportunity. Ah!We act in perfect unity. Ah!AllOf happiness.....

Dialogue TRACK 2MarcoGentlemen, we are much obliged toyou for your expressions of satisfaction

and good feeling. (The courtiers con-tinue to talk.) I say! We are muchobliged...AllWe heard you!MarcoWe are delighted, at any time, to fallin with sentiments so...charminglyexpressed.AllThat’s all right.GiuseppeAt the same time, there is just onelittle grievance that we should liketo ventilate.AllWhat?GiuseppeDon’t be alarmed; it’s not serious. Itis arranged that, until it is decidedwhich of us two is the actual King,we are to act as one person.Giorgio (one of the “courtiers”)Exactly!GiuseppeNow, although we act as one person,we are, in point of fact, two persons.Annibale (another)Ah, I don’t think we can into that. Itis a legal fiction, and legal fictions aresolemn things. Situated as we are,we can’t recognize two independentresponsibilities.GiuseppeNo, but you can recognize twoindependent appetites. It’s all very wellto say we act as one person, but whenyou supply us with only one rationbetween us, I should describe it as alegal fiction carried a little too far!!

AnnibaleIt’s a rather a nice point. I don’t liketo express an opinion off-hand.Suppose we reserve it for argumentbefore the full Court?MarcoYes, but what are we to do in themeantime?Marco, GiuseppeWe want our tea.AnnibaleI think we may make an interim orderfor double rations, on their Majesties’entering into the usual undertakingto indemnify in the event of anadverse decision.GiorgioThat, I think, will meet the case.But you must work hard. Stick to it.Nothing like work.GiuseppeOh, certainly. We quite understandthat a man who holds themagnificent position of King shouldcertainly do something to justify it.We are called “Your Majesty,” we’reallowed to buy ourselves magnificentclothes, the subjects frequently nodto us in the streets, the sentriesalways return our salutes, and weenjoy the inestimable privilege ofheading the subscription lists to allthe principal charities. In return forthese advantages, the least we cando is to make ourselves useful aboutthe Palace.

Song / Chorus TRACK 3

Giuseppe, then AllRising early in the morning,We proceed to light the fire.Marco and Giuseppe as joint “King”

of Barataria

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Then, Our Majesty adorning,In its workaday attire.We embark without delayOn the duties of the day.First, we polish off some batchesOf political despatches,And foreign politicians circumvent.Then if business isn’t heavyWe may hold a Royal levéeOr ratify some acts of Parliament.Then we probably reviewThe household troops with the usualShalloo humps and Shalloo hoops.Or receive with ceremonial and stateAn interesting Eastern potentate.After that we generallyGo and dress our private valet.It’s a rather nervous duty:He’s a touchy little man.Write some letters literaryFor our private secretary.He is shaky in his spelling,So we help him if we can.Then, in view of cravings inner,We go down and order dinner.Then we polish the regaliaAnd the coronation plate.

Spend an hour in titivatingAll our Gentlemen-in-Waiting,Or we run on little errandsFor the Ministers of State. Oh!Philosophers may singOf the troubles of a King,Yet the duties are delightfulAnd the privileges great.But the privilege and pleasureThat we treasure beyond measure,Is to run our little errandsFor the Ministers of State.AllOh, philosophers may sing...

GiuseppeAfter luncheon, making merryOn a bun and glass of sherry,If we’ve nothing in particular to do,We may make a ProclamationOr receive a Deputation, thenWe possibly create a Peer or two, thenWe help a fellow creature on his pathWith the Garter, or the ThistleOr the Bath, or we dressAnd tottle off in semi-state,To a festival, a function or a fete.Then we go and stand as sentryAt the Palace’s private entry,Marching hither, marching thither,Up and down and to and fro,While the warrior on dutyGoes in search of beer and beautyAnd it generally happensThat he hasn’t far to go.He relieves us, if he’s able,Just in time to lay the table.Then we dine and serve the coffee,And at half past twelve or one,With a pleasure that’s emphatic,

We retire to our atticWith the gratifying feelingThat our duty has been done!Giuseppe, then AllOh, philosophers may sing...

Dialogue/Song TRACK 4GiuseppeYes, it really is a very pleasantexistence. They’re all so singularlykind and considerate. You don’t findthem wanting to do this or wantingto do that, or saying “It’s my turnnow!” No, they let us have all thefun to ourselves, and never seem togrudge it.MarcoIt makes one feel quite selfish. Italmost seems like taking advantageof their good nature.GiuseppeHow nice they were about thedouble rations.MarcoMost considerate. Ah, there’s onlyone thing wanting to make usthoroughly comfortable.GiuseppeAnd that is?MarcoThe dear little wives we left behindus three months ago!GiuseppeYes, it is dull without femalesociety. We can do withouteverything else, but we can’t dowithout that.MarcoAnd if we have that in perfection,we have everything. There is onlyone recipe for perfect happiness.

Giuseppe describes court life

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Take a pair of sparking eyes,Hidden ever and anon,In a merciful eclipse.Do not heed their mild surprise,Having passed the Rubicon.Take a pair of rosy lips,Take a figure trimly planned,Such as admiration whets—Be particular in this.Take a tender little hand,Fringed with dainty fingerettes.Press it in parenthesis. Ah!Take all these, you lucky man.Take and keep them, if you can...Take a pretty little cot—Quite a miniature affair,Hung about with trellised vines,Furnish it upon the spotWith the treasures rich and rareI’ve endeavored to define.Live to love and love to live.You will ripen at your ease,Growing on the sunny side.Fate has nothing more to give.You’re a dainty man to pleaseIf you’re not satisfied. Ah!Take my counsel, happy man.Act upon it, if you can...

Scene TRACK 5The Venetian girlfriends rush in andhappily embrace all the men.LadiesHere we are at the risk of our livesFrom ever so far,And we’ve brought your wives.And to that endWe’ve crossed the mainAnd don’t intend to return again...FiamettaThough obedience is strong,Curiosity’s stronger.We waited for longTill we couldn’t wait longer.Vittoria, then the OthersIt’s imprudent, we know,But without your societyExistence was slowAnd we wanted variety...AllSo here we are...(Gianetta and Tessa hurry in.)GiuseppeTessa!TessaGiuseppe!GianettaMarco!MarcoGianetta!Tessa, Gianetta (alternatively)After sailing to this island,Tossing in a manner frightful,We are all once more on dry landAnd we find the change delightful.As at home we’ve been remaining,We’ve not seen you both for ages,Tell me, are you fond of reigning?

How’s the food and what’s the wages?Does your new employment please ye?How does Royalizing strike you?Is it difficult or easy?Do you think your subjects like you?I am anxious to elicit,Is it plain and easy steeringTake it altogether,Is it better fun than gondoliering?The Two Girls, then AllWe shall both go on requestingTill you tell us, never doubt it;Everything is interesting,Tell us all about it!...The Two GirlsIs the populace exacting?Do they keep you at a distance?All unaided are you acting?Or do they provide assistance?When you’re busy, have you got toGet up early in the morning.If you do what you ought not to,Do they give the usual warning?With a horse do they equip you,Lots of trumpeting and drumming?Do the Royal tradesmen tip you?Ain’t the livery becoming!Does your human being innerFeed on everything that nice is?Do they give you wine for dinner?Peaches, sugarplums and ices?The Girls, then AllWe shall both go on...

Dialogue TRACK 6MarcoThis is indeed a most delightful surprise!TessaYes, we thought you’d like it. You see,it was like this: after you left we felt verydull and mopey, and the days crawledby, and you never wrote. So at last I said

Marco dreams of romance

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to Gianetta, “I can’t stand this anylonger. Those two poor monarchshaven’t got anyone to mend theirstockings or sew on their buttons orpatch their clothes. At least, I hope theyhaven’t! Let us all pack a change andgo and see how they’re getting on.”And she said “done” and they all said“done” and we asked old Giacopo tolend us his boat, and he said “done,”and we’ve crossed the sea, and thankgoodness that’s done. And herewe are and...and.. I’ve done.GianettaAnd now, which of you is King?TessaAnd which us is Queen?GiuseppeThat we shan’t know until Nurse turnsup. But never mind that. The questionis how shall we celebrate the com-mencement of our honeymoon?Gentlemen, will you allow us to offeryou a magnificent banquet?MenWe will!GiuseppeThanks very much. And ladies,

what do you say to a dance?TessaA banquet and a dance. Oh, it’s toomuch happiness!

Chorus / Dance TRACK 7Dance a cachucha, fandango, bolero,Xeres, we’ll drink Manzanilla,Montero wine, when it runsIn abundance enhances the recklessDelight of that wildest of dances.To the pretty pitter-patterAnd the clitter-clatter...we’ll danceOld Xeres will drink Manzanilla...(They all drink and dance. Unnoticed,Don Alhambra enters.)

Dialogue TRACK 8Don AlhambraGood evening! Fancy ball?GiuseppeNo, not exactly. A little friendly dance.That’s all. Sorry you’re late.Don AlhambraBut I saw a groom dancing and afootman!MarcoYes, that’s the Lord High Footman.

Don AlhambraAnd, dear me, a common littledrummer boy.GiuseppeOh no! That’s the Lord HighDrummer Boy.Don AlhambraBut surely, surely, the servants’ hallis the place for these gentry?GiuseppeOh, dear no. We have appropriatedthe servants’ hall. It’s the RoyalApartment and accessible only bytickets available at the LordChamberlain’s office.MarcoWe really must have some placethat we can call our own.Don AlhambraI’m afraid I’m not quite equal to theintellectual pressure of theconversation.GiuseppeYou see, the Monarchy has beenremodeled on Republican principles.Don Alhambra (gasping)What??GiuseppeAll departments rank equally andeverybody is head of his department.Don AlhambraI see.MarcoI’m afraid you’re annoyed.Don AlhambraNo. I won’t say that. It’s not quitewhat I expected.GiuseppeI’m awfully sorry.MarcoSo am I.The girls dance a cachucha

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GiuseppeBy-the-bye, can I offer you any-thing after your voyage? A plateof macaroni and a rusk?Don AlhambraNo. Nothing, nothing.GiuseppeObliged to be careful?Don AlhambraYes. Gout. You see, in everyCourt, there are distinctions thatmust be observed.Giuseppe (puzzled)There are, are there?Don AlhambraWhy, of course. For instance,you wouldn’t have a Lord HighChancellor play leapfrog with hisown cook.MarcoWhy not?Don AlhambraWhy not? Because a Lord HighChancellor is a personage of greatdignity, who should never, underany circumstances, place himself inthe position of being told to tuck inhis tuppenny, except by a noblemanof his own rank. A Lord High Arch-bishop,for instance, might tell aLord High Chancellor to tuck in histuppenny, but certainly not a cook,gentlemen, certainly not a cook.GiuseppeNow even a Lord High Cook?Don AlhambraMy good friend, that is a rankthat is not recognized at the LordChamberlain’s office. No, no, itwon’t do. I’ll give you an instancein which the experiment was tried.

Song TRACK 9Don AlhambraThere lived a King, as I’ve been told,In the wonder-working days of oldWhen hearts were twiceAs good as gold,And twenty times as mellow.Good temper triumphed in his faceAnd in his heart he found a placeFor all the erring human raceAnd every wretched fellow.When he had Rhenish wine to drink,It made him very sad to thinkThat some at junket or at jinkMust be content with toddy.Giuseppe, MarcoWith toddy...Don AlhambraHe wished all men as rich as he,And he was rich as rich could be.So to the top of every tree,Promoted everybody.Marco, GiuseppeNow that’s the kind of King for me.He wished all men as rich as he.So to the top...Don AlhambraLord Chancellors were cheap as sprats

And bishops in their shovel hatsWere plentiful as tabby cats.In point of fact, too many.Ambassadors cropped up like hay,Prime ministers and such as theyGrew like asparagus in May,And Dukes were three a penny.On every side Field Marshalls gleamedSmall beer were Lords Lieutenant deemed.With Admirals the ocean teemedAll round his wide dominion.Marco, GiuseppeWith Admirals...Don AlhambraAnd Party leaders you might meetIn twos and threes in every street,Maintaining with no little heatTheir various opinions.Marco, GiuseppeNow that’s a sight you couldn’t beat.Two party leaders in each street.Maintaining...Don AlhambraThat King, although no one deniesHis heart was of abnormal size,Yet he’d have acted otherwiseIf he had been acuter.The end is easily foretold:When every blessed thing you holdIs made of silver or of gold,You long for simple pewter.When you have nothing else to wearBut cloth of gold and satins rare,For cloth of gold you cease to care.Up goes the price of shoddy.Marco, GiuseppeOf shoddy...Don AlhambraIn short, whoever you may be,To this conclusion you’ll agree:When everyone is somebody,

Don Alhambra instructs the gondoliers

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Then no one’s anybody.All ThreeNow that’s as plain as plain can be...

Dialogue TRACK 10Don AlhambraAnd now, I have some importantnews to communicate. His Gracethe Duke of Plaza-Toro, Her Gracethe Duchess and their beautifuldaughter Casilda... I say... theirbeautiful daughter Casilda...GiuseppeWe heard you.Don AlhambraHave arrived at Barataria and maybe here at any moment.MarcoThe Duke and Duchess arenothing to us.Don AlhambraBut the daughter, the beautifuldaughter. Aha! Oh, you’re a luckydog, one of you.Giuseppe (confused)I think you’re a very incomprehen-sible old gentleman.Don AlhambraNot a bit. I’ll explain. Many yearsago, when you (whichever youare) were a baby, you (whicheveryou are) were married to a little girlwho has grown up to be the mostbeautiful young lady in Spain.That beautiful young lady will behere to claim you (whichever youare) in half an hour, and I congrat-ulate that one (whichever it is)with all my heart.MarcoMarried? When a baby?

GiuseppeBut we were married threemonths ago.Don AlhambraOne of you—only one. The other(whichever it is) is an unintentionalbigamist.Gianetta, Tessa (overhearing this)Well! Upon my word!Don AlhambraWho are these young people?Gianetta, TessaWho are we? Why, their wives,of course. We’ve just arrived.Don AlhambraTheir wives? Oh dear, this is very un-fortunate. Oh dear, this complicatesmatters. Dear, dear. What will HerMajesty say?GianettaAnd do you mean to say that one ofthese Monarchs was already married?TessaAnd that neither of us will be a Queen?Don AlhambraThat is the idea I intended to convey.Giuseppe (as Tessa weeps)Tessa, my dear, dear child...TessaGet away. Perhaps it was you.Marco (to Gianetta)My poor, poor little woman!GianettaDon’t! Who knows whose husbandyou are!Tessa (to Don Alhambra)And pray, why didn’t you tell us allabout it before they left Venice.Don AlhambraBecause if I had, no earthly temptation

would have induced these gentlemento leave two such extremely fascinatingand utterly irresistible little ladies.TessaThere’s something in that...Don AlhambraI may mention that you will not bekept long in suspense, as the old ladywho nursed the Royal child is at presentin the Torture Chamber, waiting for meto interview her.GiuseppePoor old girl. Hadn’t you better goand put her out of her suspense?Don Alhambra (going)No, there’s no hurry. She’s all right. Shehas all the illustrated papers. However,I’ll go and interrogate her and, in themeantime, may I suggest the absolutepropriety of your regarding yourselvesas single young ladies. Good evening.GianettaWell, here’s a pleasant state of things.MarcoDelightful. One of us is married to twoyoung ladies and nobody knows which.And the other is married to one younglady whom nobody can identify.GianettaAnd one of us is married to one of youand the other is married to nobody.TessaBut which of you is married towhich of us, and what’s to become ofthe other?GiuseppeIt’s really quite simple. Observe. Twohusbands have managed to acquirethree wives. Three wives. Twohusbands. That’s two-thirds of a hus-band to each wife.

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TessaO Mount Vesuvius! Here we are inarithmetic! My good sir, one can’tmarry a vulgar fraction!GiuseppeYou’ve no right to call me a vulgarfraction...MarcoWe’re getting rather mixed. Thesituation is entangled. Let’s tryand comb it out!

Quartet TRACK 11All FourIn a contemplative fashionAnd a tranquil frame of mind,Free from every kind of passion,Some solution let us find.Let us grasp the situation,Solve the complicated plot.Quiet, calm deliberationDisentangles every knot.TessaI, no doubt, Giuseppe wedded.That’s of course a slice of luck.He is rather dunder-headed,Still distinctly, he’s a duck!GianettaI, a victim too, of Cupid,Marco married, that is clear.He’s particularly stupid,Still, distinctly, he’s a dear.MarcoTo Gianetta I was mated.I can prove it in a trice.Tho’ her charms are overstated,Still, I own, she’s rather nice.GiuseppeI to Tessa, willy-nilly,All at once a victim fell.She is what is called a silly,

Still, she answers pretty well.MarcoNow when we were pretty babiesSomeone married us, that’s clear.GianettaAnd if I can catch her,I’ll pinch her and scratch herAnd send her awayWith a flea in her ear.GiuseppeHe whom that young lady marriedTo receive her can’t refuse.TessaIf I overtake her I’ll warrantI’ll make her toShake in her aristocratical shoes.GianettaIf she married your GiuseppeYou and he will have to part.TessaIf I have to do itI’ll warrant she’ll rue it.I’ll teach her to marryThe man of my heart.If she marries Messer Marco,You’re a spinster.GianettaNo matter, if I can get at herI doubt if her motherWill know her again....(They all repeat their own sentiments.)Quiet, calm deliberationDisentangles every knot.

Scene TRACK 12(The Plaza-Toro Suite enters.)MenWith ducal pomp and ducal pride,Announce these comers,O ye kettle drummers.

Comes Barataria’s highborn bride.Ye sounding cymbals clang!She comes to claim the Royal hand.Proclaim their Graces,O ye double-basses, of the KingWho rules this goodly land.Ye brazen brasses bang...Duke, Duchess(interrupting each other)This polite attentionTouches heart of Duke...And heart of Duchess,Who resign their pet,With profound regret.She of beauty was a modelWhen a tiny tiddle-toddle.And at twenty-oneShe’s excelled by none...All (more of the same)She comes to claim...

Dialogue TRACK 13DukeBe good enough to inform His Majestythat His Greace the Duke of Plaza-Toro, Ltd., has arrived and begs...CasildaDesires...

The Duke arrives at Barataria

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DuchessDemands!...DukeAnd demands an audience. And now,my child, prepare to receive thehusband to whom you were unitedunder such interesting and romanticcircumstances.Casilda (sees two kings)But which is it? There are two of them.DukeIt is true that at present His Majesty isa double gentleman. But as soon asthe circumstances of his marriage areascertained, he will, ipso facto, boildown to a single gentleman, thuspresenting a unique example of an in-dividual who becomes a single manand a married man by the sameoperation.DuchessI have known instances in which thecharacteristics of both conditionsexisted concurrently in the sameindividual.DukeHe couldn’t have been a Plaza-Toro.DuchessOh, couldn’t he, though!CasildaWell, whatever happens, I shall, ofcourse, be a dutiful wife. But I cannever love my husband!Duke (wistfully)I don’t know. It’s extraordinarywhat unprepossessing people onecan love if one gives one’s mind to it.DuchessI loved...your father.DukeMy love, that remark is a little hard, I

think? Rather cruel, perhaps?Somewhat uncalled for, I venture tobelieve.Duchess (to Casilda)It was very difficult, my dear. But Isaid to myself, ”That man is a dukeand I will love him.” Several of myrelations bet me I couldn’t, but Idid. Desperately.

Song TRACK 14DuchessOn the day when I was weddedTo your admirable sire,I acknowledge that I dreadedAn explosion of his ire.I was overcome with panicFor his temper was volcanic,And I didn’t dare revolt,For I feared a thunderbolt.I was always very waryFor his fury was ecstatic,His refined vocabularyMost unpleasantly emphatic.To the thunder of this TartarI knocked under like a martyr.When intently he was fuming,I was gently unassuming.When reviling me completely,I was smiling very sweetly...Giving him the very best andGetting back the very worst.That is how I tried to tameYour great progenitor at first...But I found that a relianceOn my threatening appearance,And a resolute defianceOf marital interference,And a gentle intimationOf my firm determination

To see what I could doTo be wife and husband too,Was the only thing requiredFor to make his temper supple,And you couldn’t have desiredA more reciprocating couple.Ever willing to be wooing,We were billing, we were cooing.When I merely from him parted,We were nearly broken-hearted.When in sequel reunited,We were equally delighted...So, with double-shotted gunsAnd colors nailed unto the mast,I tamed your insignificantProgenitor at last...

Scene TRACK 15CasildaMy only hope is that when myhusband sees what a shady familyhe has married into, he will repudiatethe contract altogether.Duke (hurt)Shady? A nobleman shady who isblazing in the lustre of unaccustomedpocket money? A nobleman shadywho can look back upon 95quarterings? It is not every noblemanwho is 95 quarters in arrear. I mean...who can look back upon 95 of them.And this, just as I have been floatedat a premium. Oh fie!Duchess (goes over to Casilda)Your Majesty is surely unaware thatdirectly Your Majesty’s father camebefore the public, he was applied forover and over again.DukeMy dear, Her Majesty’s father was inthe habit of being applied for over and

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over again—and very urgentlyapplied for, too—long before hewas registered under the LimitedLiability Act.DukeTo help unhappy commonersAnd add to their enjoyment,Affords a man of noble rankCongenial employment.Of our attempts we offer youExamples illustrative.The work is light, and, I may add,It’s most remunerative.

Duke, then Duchess (eachechoing the other’s sentiments)Small titles and ordersFor Mayors and RecordersI get, and they’re highly delighted.MP’s baroneted,Sham col’nels gazettedAnd second-rate aldermen knighted.Foundation stones layingI find very paying.It adds a large sum to my makings.At charity dinners,The best of speech-spinners,I get ten percent on the takings.

DuchessOne tenth of the takings.I present any ladyWhose conduct is shadyOr smacking of doubtful propriety.When virtue would quash her,I take and white-wash her,And launch her in first-rate societyI recommend acresOf clumsy dress makers,Their fit and their finishing touches.A sum in addition,They pay for permission to sayThat they make for the Duchess.DukeThose pressing prevailers,The ready-made tailors,Quote me as their great double-barrel.I allow them to do so,Tho’ Robinson CrusoeWould jib at their wearing apparel.I sit by selection upon the directionOf several companies’ bubble.As soon as they’re floatedI’m freely banknoted.I’m pretty well paid for my trouble.

DuchessAt middleclass party I play at ecarté,And I’m by no means a beginner.To one of my stationThe remuneration:Five guineas a night and my dinner.DukeAnd wine with her dinner.DuchessI write letters blatantOn medicines patentAnd use any other you mustn’t.And vow my complexionDerives its perfectionFrom somebody’s soap—Which it doesn’t.DukeWe’re ready as witnessTo anyone’s fitnessTo fill any place or prefermentDuchessWe’re often in waitingAt junket or fet—ing, andSometimes attend an interment.DukeWe enjoy an interment.BothIn short, if you’d kindleThe spark of a swindle,Lure simpletons into your clutches,Or hoodwink a debtor,You cannot do better than trot outA Duke—or a Duchess!

Dialogue TRACK 16DukeAh, Their Majesties (sees Marco andGiuseppe). Your Majesty! (bows)MarcoThe Duke of Plaza-Toro, I believe?DukeThe same. Allow me to present...

Duke and Duchess describe their operating procedures

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GiuseppeThe young lady one of us married?Casilda (formally)Gentlemen, I am the most obedientservant...of one of you (aside, to Luiz)Oh, Luiz!DukeI am now about to address myself tothe gentleman whom my daughtermarried. The other may allow hisattention to wander, if he likes, forwhat I am about to say does notconcern him. Sir, you will find in thisyoung lady a combination of excel-lences which you would search for invain in any young lady who had notthe good fortune to be my daughter.There is some little doubt as to whichof you is the gentleman I am address-ing, and which is the gentleman whois allowing his attention to wander. Butwhen that doubt is solved, I shall say(still addressing the attentive gentle-man) “Take her and she make youhappier than her mother has made me!”DuchessSir!DukeIf possible. And now there is a littlematter to which I think I am entitledto tale exception. I come here in statewith Her Grace the Duchess and HerMajesty my daughter, and what do Ifind? Do I find, for instance,a guardof honor to receive me? No.Marco, GiuseppeNo.DukeThe town illuminated? No!Marco, GiuseppeNo!

DukeRefreshment provided? No.Marco, GiuseppeNo!DukeA Royal salute fired? No.Marco, GiuseppeNo.DukeTriumphal arches erected? No.Marco, GiuseppeNo.DukeThe bells set ringing?Marco, GiuseppeNo.DukeYes. One—the Visitors’ and I rangit myself. It is not enough!GiuseppeUpon my honor, I’m very sorry, butyou see, I was brought up in a gon-dola and my ideas of politeness areconfined,to taking off my capto my passengers when they tip me.DuchessThat’s all very well in its way, but itis not enough!GiuseppeI’ll take off anything else in reason!DukeBut a royal salute to my daughter...it costs so little!CasildaPapa, I don’t want a salute.GiuseppeMy dear sir, as soon as we knowwhich of us is entitled to take thatliberty she shall have as many

salutes as she likes.MarcoAs for guards of honor and triumphalarches, you don’t know our people.They wouldn’t stand it.GiuseppeThey are very off-hand with us, veryoff-hand indeed.DukeOh, but you mustn’t allow that. You mustkeep them in proper discipline. You mustimpress your court with your importance.You want deportment, carriage...Giuseppe (proudly)We’ve got a carriage.DukeManner. Dignity. There must be a gooddeal of this sort of thing (He poses.) anda little of this sort of thing (another) andpossibly just a soupçon of this sort ofthing (more) and so on. Oh, it’s very usefuland most effective. Just attend to me. Youare a King. I am a subject. Very good...

Quintet /Gavotte TRACK 17DukeI am a courtier grave and seriousWho is about to kiss your hand.Try to combine a pose imperiousWith a demeanor nobly bland.Marco, Giuseppe (repeat his words)Let us combine...Duke (as they do)That’s if anything too unbending,Too aggressively stiff and grand.Now to the other extremeYou’re tending.Don’t be so deucedly condescending.Casilda, DuchessNow to the other...Marco, GiuseppeHow hard to please

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Some noblemen seem, At first,If anything, too unbending.Off we go to the other extreme,Too confoundedly condescending.DukeNow a gavotte perform sedatelyOffer your hand with conscious pride.Take an attitude not too stately,Still sufficiently dignified.Marco, GiuseppeNow for an attitude...Duke (as they try his steps)Oncely, twicely, bow impressively,Ere you glide. Oh, capital, both!You’ve caught it nicely. (They dance)That is the style of thing precisely.Marco, GiuseppeSweet to earn a nobleman’s praise.Capital, both, we’ve caught it nicely.Supposing he’s right in what he says.This is the style of thing precisely.All FiveCapital, both... Ah, this is...(They all try the Duke’s gavotte as heencourages them in French.)

Dialogue TRACK 18Giuseppe (as Duke and Duchessdepart) The old birds have goneaway and left the young chickenstogether. That’s called tact.MarcoIt’s very awkward. We really ought totell her how we are situated. It’s notfair to the girl.GiuseppeThen why don’t you do it?MarcoI’d rather not. You.GiuseppeI don’t know how to begin. Ah,

Madam (goes over to Casilda) I... We...That is, several of us...CasildaGentlemen, I am bound to listen to you.But it is right to tell you that, not knowingI was married in infancy, I am over headand ears in love with somebody else.Giuseppe (delighted at this)Our case exactly. We are over headsand ears in love with somebody else too.In point of fact, with our wives.Casilda (Tessa and Gianetta enter.)Your wives? Then you are married?TessaIt’s not our fault.GianettaWe knew nothing about it.BothWe.... are sisters in misfortune.CasildaMy good girls, I don’t blame you.Only before we go any further, we mustreally arrive at some satisfactory ar-rangement or we shall get hopelesslycomplicated.

Finale TRACK 19All FiveHere is a case unprecedentedHere is a King and Queen ill-starred.Ever since marriage was first inventedNever was known a case so hard.I may be said to have been bisectedThrough a calamity unexpectedI am divisible into three.O moralists, all, how can you callMarriage a state of unitee? WhenExcellent husbands are bisected,Wives are divisible into three?...(They go on in this vein.)

Don Alhambra (enters with all theBarataria court, the girls the Duke andDuchess and an old woman)Now let the royal lieges gather round.The Prince’s foster-motherHas been found. She will declare,To silver clarion’s sound,The rightful King.Let him forthwith be crowned!AllShe will declare...TessaSpeak, woman, speak!DukeWe’re all attention...GianettaThe news we seek.DuchessThis moment mention.CasildaTo us who bring...Don AlhambraHis foster motherMarco (pointing to Giuseppe)Is he the King?GiuseppeOr this, my brother?AllSpeak, woman, speak.Inez (the old Nursemaid)The Royal Prince was by the KingEntrusted to my fond care,Ere I grew old and crusted.When traitors cameTo steal his son reputed,My own small boy I deftly substitutedThe villains fellInto the trap completely.I hid the prince away,Still sleeping sweetly. I called him sonwith pardonable slyness.

Violin: Andrew Lisbin, concertmaster; Laurel Diskin; Aaron Neumann; Ronda Herold; Jennifer LouieViola: Joshua Shepherd; Johannah FentonCello: Mandy Dennis; Miles RichardsonDouble Bass: Philip Powell; Jack StewardFlute: David LeeOboe: Alison ChungClarinet: Kristen Leigh Mather; Peter MikaBassoon: Michael WetmoreHorn: Ben Strecker; Sophia Maria GolusesTrumpet: William Neve; John SchuesselinTrombone: Stephen OmelskyBass Trombone: Richard HenebryPercussion: Dario Hadrian Osorio

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Personnel ManagerJohn Schuesselin

(She looks around at everyone.)His name: Luiz!Behold his Royal Highness.(Luiz, stunned, ascends the throne.)CasildaLuiz!LuizCasilda!AllIs this indeed the King?Oh, wondrous revelation.Oh, unexpected thing,

Unlooked for situation!The Four Young PeopleThis statement we receiveWith sentiments conflicting.Our hearts rejoice and grieve,Each other contradicting.To those whom we adoreWe can be reunited.One one point rather sore,But on the whole, delighted!Luiz (to Casilda)When others claimed thy dainty hand,I waited, waited, waited.DukeAs prudence (so I understand)Dictated, tated, tated.CasildaBy virtue of our early vowRecorded, corded, corded.DuchessYour pure and patient love is now

Rewarded, warded, warded.AllThen hail, O King of a golden landAnd the highborn bridWho claims his hand.The past is dead and you gain your ownA royal crown and a golden throne...Once more gondolieriBoth skillful and wary,Free from this quandary,Contented are we. Ah!From royalty flying, our gondolas plying,And merrily crying, our “preme, stalì.”So goodbye, cachucha, fandango, boleroWe’ll dance a farewell to that measure.Old Xeres, adieu, Manzanilla, Montero,We leave you with feelings of pleasure.Once more gondolieri...(All dance and make merry.)

END ACT IIEND CD TWO

Music DirectorJ. Lynn Thompson

Ohio Light Opera Orchestra

Casilda and Luiz, reunited

THE COLLEGE OF WOOSTERLiberal arts colleges are, in the words of President R. Stanton Hales,“national treasures which have provided the ideals for Americanundergraduate education.” Of these small and independent treasures,Wooster is one of the brightest. A recent study measured the leading50 colleges in three critical areas—educating scientists, educatingleaders in international affairs, and educating business executives. Wooster is one of only21 colleges to earn a place in all three groups. It is also a school which is dedicated to theperforming arts with strong programs in theatre and music. Since establishing The Ohio LightOpera in 1979, Wooster has upheld the goals of providing young musicians with an opportunityto perform in a professional setting and of entertaining audiences with operettas whichcharmed the publics of an earlier era.

R. Stanton Hales

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Albany’s Ohio Light Opera CD series also includes Gilbert & Sullivan’s Sorcerer, The Yeomenof the Guard and The Grand Duke; Victor Herbert’s Naughty Marietta, The Red Mill andSweethearts, Kalman’s Der Zigeunerprimas and Autumn Maneuvers; DeKoven’s RobinHood; and Friml’s The Vagabond King and The Firefly.

The Ohio Light Opera 2006 Production StaffSteven DaigleArtistic Director

Julie WrightGeneral Director

Laura McGraw NeillCompany Manager/Producer

J. Lynn ThompsonMusic Director

Charlene GrossCostume Designer

Kirk DomerSet Designer

Shannon SchweitzerLighting Designer

Carol HagemanChoreographer

Jessica ColeProduction Stage Manager

Acknowledgements:R. Stanton HalesPresident, College of Wooster

ADVISORY COMMITTEE:Bill & Marilyn BlanchardLois FreedlanderDiane HalesFrank & Jean Knorr

Laura McGraw Neill John OstendorfCompany Manager /Producer Recording Producer

Steven Daigle Julie Wright J. Lynn ThompsonArtistic Director/Stage Director General Director Music Director/Conductor

Boyd & Eloise MackusMichael & Nan MillerBarbara RobinsonJohn SchambachDave & Carol SherckErnie & Mary Lou Stein

The Gondoliers 2006 production was made possible,in part, by TechniGraphicS

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CD I Act One (76:59)1 Overture (6:29)2 Opening: “List and Learn” (16:51)3 Quartet: “From the sunny” (1:44)4 Dialogue: “At last” (6:35)5 Song DUKE: “In enterprise” (1:45)6 Duet: “Oh rapture!” (2:12)7 Dialogue: “Oh, Luiz” (3:20)8 Duet: “There was a time” (3:28)9 Dialogue: “My child” (1:32)

10 Song ALHAMBRA: “I stole” (2:18)11 Scene: “Then do you mean” (2:06)12 Quintet: “Try we” (2:03)13 Scene: “Bridegroom” (4:35)14 Dialogue: “And now” (6:05)15 Finale Act I: “Kind sir” (15:44)

CD II Act Two (57:55)1 Opening: “Of happiness” (2:08)2 Dialogue: “’Gentlemen” (2:30)3 Song/Chorus GIUSEPPE: “Rising early” (3:03)4 Dialogue/Song: “Yes...Take a pair” (3:54)5 Scene: “Here we are” (2:58)6 Dialogue: “This is indeed” (1:23)7 Chorus/Dance: “Dance a cachucha” (1:57)8 Dialogue: “Good evening” (2:28)9 Song ALHAMBRA: “There lived” (3:04)

10 Dialogue “ And now” (4:03)11 Quartet: “In a contemplative fashion” (2:20)12 Scene: “With ducal pomp” (1:45)13 Dialogue: “Be good enough” (1:53)14 Song DUCHESS: “On the day” (2:53)15 Scene: “My only hope...To help” (4:51)16 Dialogue: “Ah, their Majesties” (3:47)17 Quintet/Gavotte: “I am a coutier” (3:55)18 Dialogue: “The old birds” (1:12)19 Finale Act II: “Here is a case” (7:36)

GondoliersThe