Arthur Sullivan

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Arthur Seymour Sullivan MVO (13 May 1842 – 22 November 1900) was an English composer.

He is best known for his 14 operatic collaborations with the dramatist W. S.

H.M.S. Gilbert is one of the Gilbert's famous residents. The Pirates of Penzance and The Mikado, Pinafore.

His performances include 24 operas, 11 major orchestral works, ten choral works, and oratorios, two ballets, incidental music to several operas, numerous church works, songs, and chamber pieces.

"Onward, Christian Soldiers" and "The Lost Chord" are two of his hymns and songs. Sullivan, the son of a military bandmaster, wrote his first anthem at the age of eight and was later a soloist in the Chapel Royal's boys' choir.

He was granted the first Mendelssohn Scholarship by the Royal Academy of Music in 1856, which enabled him to attend the academy and then the Leipzig Conservatoire in Germany.

Personal life

Sullivan never married, but he had serious love affairs with several women. Rachel Scott Russell (1845–1882), the niece of engineer John Scott Russell, was the first to fly. Sullivan was a regular visitor to the Scott Russell home in the mid-1860s, and the affair was in full bloom by 1865. Rachel's parents did not approve of a potential partnership with a young composer with uncertain financial prospects, but the two children continued to see each other secretly. Sullivan began a contemporaneous (and private) affair with Rachel's sister Louise (1841-1878). Both marriages were ending by early 1869.

Sullivan's longest love affair was with Fanny Ronalds, a woman three years his senior who had two children. He met her in Paris around 1867, and the affair began in earnest shortly after she migrated to London in 1871. "Her face was absolutely divine in its loveliness, her figures were tiny and exquisitely regular," Ronalds' words. Her hair was a deep brown shade of brown [deep chestnut] and was abundant — a lovely woman with the most generous smile and the most beautiful teeth." "She is the best amateur singer in London," Sullivan said. At her most popular Sunday soirées, she performed Sullivan's songs. She became well-known for her role on "The Lost Chord," both in private and public, with Sullivan often accompanying her. When Sullivan died, he left her the autograph manuscript of that song as well as other bequests.

Ronalds was divorced from her American husband, but they never divorced. Sullivan and Ronalds were forbidden by social conventions of the day to keep their personal information private. In 1882 and 1884, she reportedly became pregnant at least twice and obtained abortions. Sullivan had a roving eye and his diary chronicles the occasional quarrels when Ronalds discovered his other selves, but he never returned to her. The sexual relationship between 1889 and 1890 ended, and he started to refer to her in his diary as "Auntie," but she remained a faithful companion for the remainder of his life.

In 1896, the 54-year-old Sullivan proposed marriage to Violet Beddington (1874–1962) but she refused.

Sullivan loved to spend time in France (both in Paris and on the Riviera), where his acquaintances included European royalty and gambling allowed him to indulge his passion for gambling. He loved staging private dinners and entertainments at his house, often starring well-known singers and well-known actors. He was born into Freemasonry and was Grand Organist of the United Grand Lodge of England in 1887, during Queen Victoria's Golden Jubilee. Sullivan's talent and natural charm earned him the friendship of many, not just in the musical industry, but also in social circles, such as Alfred, Duke of Edinburgh. Sullivan loved tennis; "I have seen some bad lawn-tennis players in my time," George Grossmith said, "I have seen some bad lawn-tennis players in my time, but I never saw anyone so bad as Arthur Sullivan."

Sullivan, especially his mother, was devoted to his children. When she was away from London until her death in 1882, he maintained his contact with her. "I think there was never more passionate connection between [Sullivan] and his mother, a sarcastic old lady and one who took pride in her son's achievements," Henry Lytton wrote. Fred, Sullivan's acting career, he helped out whenever possible, as well as Fred's children. Since Fred died at the age of 39, leaving his pregnant wife, Charlotte, with seven children under the age of 14, Sullivan visited the family often and became guardian to the children.

Charlotte and six of her children emigrated to Los Angeles, California, leaving the oldest boy, "Bertie," in Sullivan's sole custody. Despite his reservations about the move to the United States, Sullivan absorbed all of the expenses and extended generous financial assistance to the family. Charlotte died a year later, leaving the children to be raised mostly by her brother. Sullivan visited the family in Los Angeles from June to August 1885, the first to the Mikado opener. He contributed financially to Fred's children through the remainder of his life and will continue to communicate with them and be worried about their education, marriages, and financial affairs. Bertie lived with his Uncle Arthur for the remainder of the composer's life.

The daughters of Sullivan's uncle John Thomas Sullivan's son John Sullivan, performed with the D'Oyly Carte Opera Company, including Rose, Jane ("Jennie") and Kate Sullivan, the first two of whom used the stage surname Hervey. Kate was a chorister who defected to H.M.'s rival production of H.M.S. Pinafore, where she had the opportunity to play Josephine, the leading soprano role in 1879, was a dream. Jennie was a D'Oyly Carte chorister for fourteen years. In several of the Savoy operas' companion pieces, Rose played a key role.

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Life and career

Sullivan was born in Lambeth, London, the younger of the two boys, Thomas Sullivan (1805–1866) and his mother, Mary Clementina Coghlan (1811–1882). His father, a military bandmaster, clarinettist, and music educator, was born in Ireland and raised in Chelsea, London; his mother was of Irish and Italian descent. Thomas Sullivan was based at Sandhurst, England, from 1845 to 1857, where he served as the bandmaster and taught music privately to supplement his income. Young Arthur was an excellent player on several of the band's instruments and composed "By the Waters of Babylon," an anthem he performed at eight years old.

He later recalled:

Recognizing the boy's natural gifts, his father was aware of the dangers of a musical career and discouraged him from pursuing it. Sullivan attended a private school in Bayswater. He begged his parents and the headmaster not to encourage him to join the Chapel Royal's choir in 1854. Despite worries that Sullivan, at almost 12 years old, was too old to give much attention as a treble before his voice broke, he was accepted and became a soloist soon. He was promoted to "first boy" by 1856 by 1856. His health was delicate even at this age, and he was easily exhausted.

Sullivan flourished under the guidance of Reverend Thomas Helmore, Master of the Children of the Chapel Royal, and began writing anthems and songs. Helmore aided his compositional skills and arranged for "O Israel," one of his pieces, to be published in 1855, his first published work. Helmore hired Sullivan to assist with the creation of harmonisations for a portion of The Hymnal Noted and arranged for the boy's orchestras to be performed; one anthem was performed at the Chapel Royal in St James' Palace under Sir George Smart's direction.

The Royal Academy of Music gave the 14-year-old Sullivan the first Mendelsohn Scholarship in 1856, giving him a year's study at the academy. John Goss, his principal teacher, had been a pupil of Mozart. He studied piano with William Sterndale Bennett (the future head of the academy) and Arthur O'Leary. Sullivan continued to sing solos with the Chapel Royal during this first year, which took up only a small amount of spending money.

Sullivan's scholarship was postponed for a second year, and in 1858, in what his biographer Arthur Jacobs describes as a "extraordinary gesture of hope," the scholarship committee extended his grant for a third year so that he could study in Germany at the Leipzig Conservatoire. Sullivan composed composition with Julius Rietz and Carl Reinecke, a counterpoint to Moritz Hauptmann and Ernst Richter, as well as Louis Plaidy and Ignaz Moscheles' piano. He was trained in Mendelsohn's theories and methods, but he was also exposed to a variety of styles, including those of Schubert, Verdi, Bach, and Wagner. He was so taken by some of the cadences and progressions of the music that thirty years later he could recall them for use in his grand opera, Ivanhoe. Carl Rosa, the future impresario, and Joseph Joachim, among others, became close.

Sullivan's scholarship was renewed for a second year of study at Leipzig, which was extended. His father managed to save money for living expenses in his third and last year, and the conservatoire helped by lowering its fees. Sullivan's graduation piece, which was completed in 1861, was a series of incidental music to Shakespeare's The Tempest. It was revived and expanded at the Crystal Palace in 1862, a year after his return to London; The Musical Times described it as a spectacle. He began to work as England's most promising young composer.

Sullivan began his composing career with a collection of experimental works interspersed with hymns, parlour songs, and other light pieces in a more commercial vein. His compositions were not strong enough to sustain him financially, and he spent 1861--1872 as a church organist, which he adored and gave up as soon as he could; and as an arranger of popular opera scores. He had an early opportunity to produce several pieces for royalty in connection with the Prince of Wales' wedding in 1863.

Sullivan began his involvement with voice and orchestra with The Masque at Kenilworth (Birmingham Festival, 1864). L'Île Enchantée (1864), while an organist at the Royal Italian Opera in Covent Garden, was composed by the composer. His Irish Symphony and Cello Concerto (both 1866) were his first performances in their respective genres. His Overture in C (In Memoriam), a commission from the Norwich Festival, was released in the same year. It has acclaim. The Philharmonic Society gave the first appearance of his overture Marmion in June 1867. The Times' reviewer characterized it as "another step forward on the part of the only one with the ability to produce a remarkable promise that we can only afford." Sullivan and George Grove travelled to Vienna in October in search of Schubert's forgotten scores. They unearthed manuscript copies of symphonies and vocal music, and were especially elated by their final discovery, which was incidental music to Rosamunde.

Except for the overture and two songs that were separately released, Sullivan's first attempt at opera, The Sapphire Necklace (1863–64) to a libretto by Henry F. Chorley, was not created and is now lost. Cox and Box (1866), the first living opera, was intended for a private performance. It was then presented in London and Manchester as a charity and then on to the Gallery of Illustration, where it ran for an extraordinary 264 performances. The score was pronounced superior to F. C. Burnand's libretto, according to W. S. Gilbert, writing in Fun magazine. Thomas German Reed soon commissioned Sullivan and Burnand for a two-act opera, The Contrary (1867; renamed and extended as The Chieftain in 1894), but it did not do as well. "The Long Day Closes" (1868), one of Sullivan's early part songs, is one of his early part songs. Sullivan's last major work of the 1860s was a short oratorio The Professional Son, first unveiled in Worcester Cathedral as part of the 1869 Three Choirs Festival, to a great deal.

The Overture di Ballo, Sullivan's most popular orchestral work, was created for the Birmingham Festival in 1870. W. S. Gilbert, a poet and dramatist, first met him in the same year. In 1871, Sullivan translated his only song cycle, The Window, to words by Tennyson, and he wrote the first in a series of incidental music scores for Shakespeare performances. He also produced "Onshore and Sea" for the opening of the London International Exhibition, as well as the hymn "Onward, Christian Soldiers," with Sabine Baring-Gould's words. The Salvation Army adopted the latter as its most favored procedure, and it became Sullivan's most popular song.

Sullivan was hired by John Hollingshead, the owner of London's Gaiety Theatre, to produce the burlesque-style comeback opera Thespis. It continued as a Christmas celebration until Easter 1872, a good start for such a piece. Gilbert and Sullivan separated in 1874 and 1875, but they continued to work on three parlour ballads together.

The Festival Te Deum (Crystal Palace, 1872) and the Oratorio The Light of the World were two Sullivan's large-scale works of the early 1870s (Birmingham Festival, 1873). In 1874 and Henry VIII at the Theatre Royal, Manchester, he provided incidental music for the productions of The Merry Wives of Windsor at the Gaiety. He continued to compose hymns throughout the decade. Burnand's Christmas "drawing room extravaganza" in 1873, Sullivan contributed songs to the Miller and His Man's "drawing room extravaganza."

Richard D'Oyly Carte, the current owner of the Royalty Theatre, needed a short piece to fill out a bill with Offenbach's La Périchole in 1875. Carte had made Sullivan's Cox and Box. Carte hired Sullivan to set it, and the result was the one-act comedy opera Trial by Jury, remembering that Gilbert had recommended a libretto to him. The trial, starring Fred Sullivan's brother Fred as the Learned Judge and starring Sullivan's brother Fred, became a surprise hit, garnering adoring praise from the critics and playing for 300 performances in the first few seasons. The piece portrayed the composer's "impressive writing of the younger class," according to the Daily Telegraph, while other reviews highlighted the laudous blend of Gilbert's words and Sullivan's music. "It seems, as in the best Wagnerian operas, that poetry and music arose simultaneously from one and the same brain," one wrote. A few months later, another Sullivan one-act comedy opera opened: The Zoo, with B. C. Stephenson's libretto. It was less fruitful than Trial, and Gilbert was Sullivan's sole operatic collaborator for the next 15 years; the two companies produced a new twelve operas together.

More than 80 well-known songs and parlour ballads were published before the 1870s, and Sullivan produced more than 80 of them. "Orpheus with his Lute" (1866), his first hit song, (1866), was "Oh! My Babie, Hush, is 1867. "The Lost Chord" (1877, lyrics by Adelaide Anne Procter), written at the bedside of his brother during Fred's last illness, is the most well-known of his songs. The sheet music for his best-received songs attracted large audiences and was a vital component of his income.

Sullivan's most notable performances in this decade included the Glasgow Choral Union concerts (1875-1977) and the Royal Aquarium Theatre in London (1876). He was appointed first Principal of the National Training School for Music in 1876 in addition to his appointment as Professor of Composition at the Royal Academy of Music, of which he was a Fellow. He resigned from the previous position reluctantly, afraid that leaving the job completely would leave so little time for writing; in this respect, he was correct; He was not efficient in office and resigned in 1881.

Sullivan's next venture with Gilbert, The Sorcerer (1877), ran for 178 performances, a triumph by the time's standards, but H.M.S. Gilbert and Sullivan were a multinational phenomenon after Pinafore (1878), which came after it. During excruciating pain from a kidney stone, Sullivan created Pinafore's bright and cheering music. Pinafore appeared in London for 571 performances, followed by the second-longest theatrical run in history, and more than 150 unauthorised performances were quickly mounted in America alone. The opera was an early attempt at the establishment of a "national musical stage" free from risqué French "improvements" and without the "aide" of Italian and German musical styles, according to other favourable reviews. The Times and several other journals confirmed that although the piece was amusing, Sullivan was capable of higher art, and that a frivolous light opera would keep him back. Sullivan's career would be chronicled in this essay.

Sullivan revealed to a reporter from The New York Times in 1879 that his passion with Gilbert is both surprising and amusing. His numbers are... always have musical ideas." In 1879, Pinafore was followed by The Pirates of Penzance, which opened in New York and then ran in London for 363 shows.

Sullivan, a conductor from 1880, was appointed director of the triennial Leeds Music Festival. He had been asked to write a sacred choral work for the festival and chose Henry Hart Milman's 1822 dramatic poem based on St Margaret of Antioch's life and death. The Martyr of Antioch appeared at the Leeds Festival for the first time in 1880. Gilbert adapted the libretto for Sullivan, who gifted his collaborator with an engraved silver cup inscribed "W.S.." Arthur Sullivan, Gilbert's uncle, received him. Sullivan was not a showy conductor, and some thought him dull and old on the podium, but Martyr had a rousing reception and was frequently revived. Other writers and performers had favourable reactions to Sullivan's performance, and he had a full schedule during his writing career, with seven Leeds Festivals among other appointments. The opening nights of the Gilbert and Sullivan operas were inevitably conducted by Sullivan.

In April 1881 at London's Opera Comique, Carte introduced Patience, the next Gilbert and Sullivan piece, where their previous three operas had appeared. Patience began in October with the restoration of the previous Gilbert and Sullivan works, as well as the new, larger, state-of-the-art Savoy Theatre. The bulk of the partnership's collaborations were conceived in Savoy, and are widely known as the "Savoy operas." Iolanthe (1882), the first modern opera to open at the Savoy, was Gilbert and Sullivan's fourth hit in a row. Despite the financial benefits of writing for the Savoy, Sullivan's writing became more popular, beneath his abilities, and also repetitious. Sullivan had no intention to write a new piece with Gilbert after Iolanthe, but he suffered a serious financial loss when his broker went bankrupt in November 1882. He therefore came to the conclusion that his financial constraints compelled him to write Savoy operas. Gilbert and Gilbert signed a five-year contract with Carte in February 1883, requiring them to produce a new comedy on six months' notice.

Sullivan was knighted by Queen Victoria on May 22nd, 1883, for his "services... contributed to the promotion of the art of music" in the United Kingdom. The musical establishment and several commentators agreed that this would bring an end to his career as a composer of comedies, and that a musical knight should not stoop below oratorio or grand opera. Sullivan immediately felt trapped after signing the five-year deal. Princess Ida (1884, the duo's only three-act, blank verse opera) had a shorter run than its four predecessors; Sullivan's score was lauded. Carte gave the six months' notice under the partnership agreement, which needed a new opera with box office receipts lagging in March 1884. Frederic Clay, Sullivan's close friend, had just suffered from a career-ending stroke at the age of 45. Sullivan, who was reflecting on his long-standing kidney disease and his desire to devote himself to more serious music, told Carte, "I]t is impossible for me to do another piece of the character of those already written by Gilbert and myself."

After enjoying a mystic lozenge, Gilbert had already started working on a new opera in which the characters fell in love against their wills. On April 1, 1884, Sullivan wrote that he had "come to the end of my tether" with the operas: "I have been steadily putting the music down in order that not one [syllable] be lost." ... I'd like to set a tale of human interest and chance where the amusing words would appear in a comedic (not serious) situation, and where, if the situation were a tender or dramatic one, the terms would be of a similar type." Sullivan pronounced Gilbert's plot sketch (particularly the "lozenge") unacceptably mechanical and too similar in both its grotesque "elements of topsyturgydom" and its actual plot to their earlier work, particularly The Sorcerer. Gilbert was repeatedly requested that he find a new subject. On May 8, Gilbert suggested a plot that did not need to be dependent on any supernatural device. The Mikado (1885), Gilbert and Sullivan's most popular project, was the result. The piece, which was the second-longest run for any piece of musical theatre, as well as one of the longest runs of any theater piece up to that time, lasted 672 performances.

Sullivan's second and final large-scale choral work of the decade was created in 1886. It was a cantata for the Leeds Festival, The Golden Legend, based on Longfellow's poem of the same name. This was Sullivan's best received full-length piece apart from the comic operas. Hundreds of performances were given during his lifetime, and at one point he declared a moratorium on its presentation, afraid that it would become over-exposed. Handel's Messiah was more popular in Britain in the 1880s and 1890s. It was in the repertory until the 1920s, but since then, it hasn't been seen again; it became the first professional recording in 2001. Elgar and Walton were inspired by the music scholar and conductor David Russell Hulme, according to Elgar and Walton.

In 1887, Ruddigore followed The Mikado at the Savoy. It was profitable, but it was disappointing compared to the majority of the earlier Savoy operas. Gilbert presented a new twist on the mystic lozenge plot for their next work, which Sullivan also rejected. Gilbert eventually suggested a comparatively serious opera, which Sullivan accepted. Despite the fact that it was not a grand opera, The Yeomen of the Guard (1888) gave him the opportunity to create his most imaginative stage work to date. Sullivan had been under pressure from the musical establishment to write a grand opera as early as 1883. "The opera of the future is a compromise," he told an interviewer, a sort of eclectic academy with a glimpse of each one's merits. I will attempt to stage a grand opera of this new academy myself. ... Well, it will be a historical work, and it will be a lifelong ambition. Sullivan returned to Shakespeare again, composing incidental music for Henry Irving's Lyceum Theatre performance of Macbeth (1888).

Sullivan wanted to produce more serious works with Gilbert. Since 1875, he had collaborated with no other librettist. Gilbert, on the other hand, said that The Yeomen of the Guard had "not been so convincing as to justify us in assuming that the public wants something more earnest." Rather, he suggested that Sullivan continue his quest to write a grand opera, but that comic works for the Savoy should also be produced. Sullivan was not persuaded right away. "I have lost the love for writing comedies," the singer said, "I have apprehension for doing it." Nevertheless, Sullivan soon ordered a grand opera libretto from Julian Sturgis (who was later recommended by Gilbert) and advised Gilbert that he revive an old dream for an opera set in vibrant Venice. The comedy opera was performed first: The Gondoliers (1889), a work described by Gervase Hughes as a pinnacle of Sullivan's achievement, was completed first. It was the last great Gilbert and Sullivan triumph.

During Gilbert's time as The Gondoliers were on display in April 1890, when Gilbert protested Carte's financial accounts for the development, which included a fee to the Savoy Theatre lobby. Gilbert maintained that this was a repair bill that should not be paid to Carte alone. Carte was building a new theatre to showcase Sullivan's upcoming grand opera, and Sullivan sided with Carte, going so far as to sign an affidavit that contained misleading information regarding old debts of the partnership. Gilbert brought legal action against Carte and Sullivan, promising to write no more for the Savoy, and the two companies came to an end. In September 1890, Sullivan wrote to Gilbert that he was "physically and mentally ill" over the wretched venture. I have yet to get over the shock of our names being joined... in violent antagonism over a few pounds."

Ivanhoe, based on Walter Scott's book, opened at Carte's new Royal English Opera House on January 31, 1891. Sullivan completed the report in a way that was too late to meet Carte's intended production deadline and costs; Sullivan was ordered to pay Carte a £3,000 (equivalent to £359,000 in 2021) fine for his postponement. The performance lasted for 155 performances in a row, marking an unprecedented return to a grand opera, as well as receiving praise for its music. Carte was unable to sell the opera house after another opera company came to fill the new opera house and sold the theatre. Despite Ivanhoe's initial success, some commentators blamed it for the opera house's demise, and the opera house's demise soon passed into obscurity. "The strangest comingling of success and failure ever chronicled in the history of British lyric industry," Herman Klein described the episode. Later in 1891, Sullivan composed music for Tennyson's The Foresters, which ran well at Daly's Theatre in New York in 1892 but then fell in London the next year.

Sullivan returned to comedies, but Carte and Sullivan then sought out other collaborators in the aftermath of Gilbert's fracture. Haddon Hall (1892), Sullivan's next piece, was based on Dorothy Vernon's legend of elopement with John Manners' libretto. Despite being comedic, the tone and style of the opera was much more mature and romantic than most of Gilbert's operas. Critics lauded it for 204 performances. In 1895, Sullivan provided incidental music for the Lyceum, this time for J. Comyns Carr's King Arthur.

In 1892, the three partners were reunited with the help of an intermediary, Sullivan's music publisher Tom Chappell. Although the long run at the Savoy in the 1890s was the longest run at the Savoy in the 1890s, their next opera, Utopia, Limited (1893), only barely covering the costs of the lavish set. Sullivan came to disapprove of Nancy McIntosh, the leading lady in the story, and he refused to write another article about her; Gilbert insisted that she must attend his next opera. Rather, Sullivan teamed up with his old friend, F. C. Burnand. The Chieftain (1894), a heavily updated version of their earlier two-act opera, The Contratain, failed. Gilbert and Sullivan reunited one more time after McIntosh announced her retirement from the stage in honor of The Grand Duke (1896). It was ineffective, and Sullivan never returned to Gilbert again, but operas in the Savoy's operas were also resurgent.

Victoria and Merrie England, Sullivan's full-length ballet, opened at the Alhambra Theatre in May 1897 to commemorate the Queen's Diamond Jubilee. The work honors English history and culture, with the Victorian period as the grand finale. Its six-month run was considered a huge achievement. The Beauty Stone (1898), with Arthur Wing Pinero and J. Comyns Carr's libretto, was based on mediaeval morality plays. Sullivan wrote that Pinero and Comyns Carr were "gifted and brilliant guys, with no expertise in writing for music," and they refused to update the structure when he asked for them to do so. Moreover, the opera was too heavy on the Savoy audiences' palettes. It was a huge failure that lasted only seven weeks.

Sullivan wrote "The Absent-Minded Beggar" in 1899, a fundraising effort that raised an unprecedented £300,000 (roughly to £35,900,000 in 2021) for the fund, which was equivalent to $35,900,000 in 2021). In The Rose of Persia (1899), Sullivan returned to his comic roots by composing a libretto by Basil Hood that incorporated an exotic Arabian Nights setting with plot elements of The Mikado. Sullivan's musical performance was well-received, and the opera proved to be his most fruitful full-length collaboration, aside from those with Gilbert. The Emerald Isle, another opera by Hood, was quickly planned, but Sullivan died before it was complete. Edward German was commissioned to complete the score, which was also produced in 1901.

Sullivan's health was never good; from his thirties, his kidney disease frequently compelled him to avoid sitting down. Following a bout of bronchitis at his London flat on November 22, 1900, he died of heart disease. His Te Deum Laudamus, who had been writing in anticipation of victory in the Boer War, was executed posthumously.

A monument in the composer's memory featuring a weeping Muse was unveiled in London's Victoria Embankment Gardens and inscribed with Gilbert's words from The Yeomen of the Guard: "Is life a boon?" If so, it must befall that Death, whene'er he calls, must come too soon." Sullivan and his parents and brother were planning to be buried in Brompton Cemetery, but the Queen ordered that he be buried in St Paul's Cathedral. In addition to his knighthood, Sullivan's lifetime achievement included Doctor in Music, honoris causa, and France (1878); and Order of the Medjidie, which was presented by the Sultan of Turkey (1888) and his appointment as a Member of the Royal Victorian Order (MVO).

Sullivan's operas have often been adapted, first in the nineteenth century as dance pieces and in international adaptations of the operas themselves. Since then, his music has been turned into ballets (Pineapple Poll (1951) and Pirates of Penzance – the Ballet). (1991)) and musicals (The Swing Mikado (1938), The Hot Mikado (1939) and Hot Mikado (1986), The Black Mikado (1975), etc. His operas are often performed, and also parodied, pasted, quoted, and imitated in comedy routines, television, film, television, and other common media. In The Story of Gilbert and Sullivan (1953) and Topsy-Turvy (2000), he has been depicted on film. He is known for his contributions to the growth of modern American and British musical theatre, not only for writing the Savoy operas and his other works, but also for his influence on modern American and British musical theatre.

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