Classical Masterpieces for Bass by Josquin des Pres

By Josquin des Pres

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It was in “Thespis” that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. 31 Indeed, as Sullivan points out, it is hard to appreciate precisely how “tremendous” this novelty was. But we must focus on it if we are to understand the way these operas contribute to the discussion of gender in late Victorian England. 32 Most important, the Chorus takes part in the dramatic action, and it thereby performs a critical parody of the conventions of grand opera.

But the logic of melodramatic recognition turns out to be a red herring, and the joke further inflates its hilarity with the illogical notion that recognition—and the inversion of social hierarchy that inevitably follows—could depend on the absence of legible markings. indd 14 9/22/10 8:26 AM not be pinpointed with any certainty. Fredric Woodbridge Wilson has made the point that it is difficult or impossible to determine exactly what source Gilbert had in mind. Sullivan’s first comic opera, Cox and Box (written with F.

S.  . they sing choruses in public,” and Captain Fitzbattleaxe’s “A tenor all singers above” in Utopia, Limited. In the last—a comic opera in which King Paramount has written a comic opera—the ostentatiously English name of the celebrated English tenor, “Mr. indd 27 9/22/10 8:26 AM about English singers affecting Italian pseudonyms in the Victorian theater, while “A tenor all singers above” dilates on the paradoxes of this particular role in the ensemble. In all these ways, the music participates in the parody as much as the words do.

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