A Tale of Three Knights: Sir Walter, Sir Arthur and Sir Wilfred of Ivanhoe

Summary of the Talk:

The article explores the connections between Sir Walter Scott's novel Ivanhoe and its adaptation into an opera by Sir Arthur Sullivan. Here's a summary and some notable points:

The piece starts by explaining how Professor Purdie was invited to present a paper at the Sir Arthur Sullivan Society’s annual meeting, discussing Scott’s Ivanhoe as it relates to Sullivan’s opera. The opera adaptation of Ivanhoe was Sullivan’s only foray into grand opera and was staged in 1891, though it has not been frequently revived. The opera was commissioned at the request of Queen Victoria, who was keen on an English grand opera, inspired partly by Sullivan's previous works and the cultural popularity of Scott's medieval romance.

Purdie goes on to describe the opera's plot, noting that it differs significantly from the novel in structure, focusing on key scenes rather than a full retelling. Notably, the opera compresses multiple events from the novel, such as the tournament at Ashby-de-la-Zouche and the storming of Torquilstone castle, while also adding some lighter, comic elements to counterbalance the drama.

Interesting Points:

1. The Legacy of Sir Arthur Sullivan: Sullivan is remembered not only for his collaborations with W.S. Gilbert but also for his broader musical contributions, including oratorios, sacred music, and choral works. The Ivanhoe opera shows his versatility beyond light opera, blending darker tones and sophisticated orchestration.
2. Historical Context of Ivanhoe: The opera adaptation focuses heavily on themes of racial tension between Saxons and Normans, a motif that Scott emphasized in the novel despite historical criticism. The opera also highlights themes of religious and social tension, notably through the character of Rebecca, who faces a trial for witchcraft.
3. Opera's Reception and Impact: Sullivan’s Ivanhoe had a strong initial run, performing 156 times, but the opera house where it was staged, the Royal English Opera House, closed soon after. The opera was rarely revived until the 20th century, when amateur productions brought it back into the spotlight.
4. The Operatic Interpretation of Characters: Some characters, like Friar Tuck, are given more light-hearted roles in the opera to balance the heavy themes. Sullivan’s use of comic moments and songs, such as the drinking song, helps create a contrast to the more serious drama of the novel.
5. Rebecca’s Role: Rebecca emerges as a powerful character in both Scott’s novel and Sullivan’s opera. Her aria and struggles form an essential narrative thread in the opera, particularly in her resistance to Sir Brian de Bois Guilbert.

The article is a detailed reflection on the opera’s development, reception, and its connections to the original novel, providing insight into the art of transforming literature into music.