ABSTRACT
The method by which Arthur Sullivan and W. S. Gilbert put their work on stage was by well established. Musical rehearsals were first begun. It was a vital step in the proceedings, beginning that shaping and refining of the production in which Gilbert, not Sullivan, was in charge. The programme, at St James’s Hall, had the distinguished participation of Sullivan’s old friend Joachim, the almost inevitable garnish of vocal items being provided by a soprano, Elly Warnots. On the opening night, which Sullivan conducted, the Duke of Edinburgh was again his faithful patron. The Mikado was to be recognized, by public and connoisseurs alike, as among the best—perhaps indeed the best—of Sullivan’s operettas. The orchestration remained that which Sullivan had adopted as standard: 2 flutes, ι oboe, 2 clarinets, ι bassoon, 2 horns, 2 cornets, 2 trombones, 1 drummer, and strings.
