A jolly spoof-Irish chorus introduces the hero, Terence O'Brien, an Irish patriot who, as he claims in song, is 'descended from Brian Boru'. But, alas, he speaks with an English accent, having been brought up in 'the luxurious lap of London'. He is not alone, however. All his countrymen now speak with an English accent for the English Viceroy has been giving elocution lessons in the infant schools and now there's not a man nor a colleen here that could dance an Irish jig correctly, and say 'Begorra' at the end of it with any conviction.
To the village comes one Professor Bunn, 'Mesmerist, Ventriloquist, Humorist and General Illusionist, Shakespearian Reciter, Character Impersonator and Professor of Elocution. Children's Parties a Speciality'. He has been employed by the Lord Lieutenant for his re-education programme but offers to change sides and re-teach the Irish how to be precisely that.
Terence is anxious to meet up with his sweetheart, Rosie, who is, unfortunately, none other than the daughter of the Lord Lieutenant. It is arranged that Terence shall hide out in the reputedly haunted caves of Carric-Cleena, and that Rosie shall come to him there. But Bunn notifies the Lord Lieutenant of their plans, and the Irish are obliged to find a subterfuge to keep the redcoats away. They decide that Molly, one of their number, shall appear as the fairy, Cleena, and Bunn as an ancient who has been held captive by her for fifty years, and thus they shall scare away the superstitious Devonshire soldiers. The first act ends with them bringing their trick off successfully.
The second act carries on in much the same vein. Bunn goes through his paces, Terence and Rosie pursue their romance and Molly carries on with the hereditary 'blind' fiddler, Pat Murphy, who dares not confess his perfect sight for fear of losing her sympathy and love. When the Lord Lieutenant descends upon them all, Bunn succeeds in saving the 'rebels' by proclaiming:
"If we had guessed (as we ought to have guessed) that you, being a scion of a noble English house, had so much American blood in your composition, we should not have rebelled against you. America is the friend of Ireland. You are an English nobleman. Therefore you are, nowadays, more than half American. Therefore you are our friend.. ."
Act One
Act One takes place outside the gates of the country residence of the Earl of Newtown, Viceroy and Lord Lieutenant of Ireland, in a picturesque country village. The time is early in the nineteenth century.
In the Opening Chorus the villagers are gossipping about the rumour that Terence O'Brian, a young rebel and scion of the local gentry, is shortly to return to the district after an absence abroad. Soon he is indeed among them but, since he spent his childhood in England and acquired English manners and an English accent, he is at first taken for a hated 'Saxon'. Terence assures the villagers that he is in fact the descendant of Brian Boru, one of the ancient Kings of Erin, and that no stronger patriot than himself exists.
Pat Murphy, the local blind fiddler, now comes out of his cabin nearby and points out that many local folk have become very much Anglicised thanks to the Lord Lieutenant's free elocution and deportment classes. Terence resolves to restore the Irish way of life to his villagers. But he needs a suitable tutor.
At this point (of course) comes the arrival of Professor Bunn, a "mesmerist, ventriloquist. . . Character impersonator and professor of elocution" who is promptly engaged by Terence. However, there is a problem. Terence is a rebel, the villagers are with him to a man, and together they comprise a pro-Gaelic, revolutionary society, the 'Clan-na-Gael'. Bunn's interruption of their meeting could mean that he has overheard something and is now a danger to all of them. Clearly, therefore, someone must keep an eye on him lest he betray the Society to the Lord Lieutenant. Since Terence himself wishes to go off in pursuit of his ladylove (who happens to be the Lord Lieutenant's daughter), and the peasantry have departed the stage, Bunn is left in the charge of Blind Pat Murphy.
When the two are alone together, Murphy reveals that he is not in fact blind; he has merely pretended to be so because his own father was a blind fiddler and blind fiddling was the only trade he knew. He would now like to become un-blind in order to pursue an amour with Molly O'Grady. He suggests that Bunn shall do it for him and so assure his own reputation as a great healer. But when Molly, who now appears, seems more interested in Bunn than the fiddler, the latter quickly abandons the idea.
Now jealous of Bunn, a furious 'Blind' Murphy attempts to discredit him in the eyes of Terence (who now reappears )as "a traitor and a spy". Terence waves these trifles aside, for he has a use for the Professor. Having himself been unable to get past the sentries to deliver a note to Rosie, the Lord Lieutenant's daughter. He bids Bunn do it for him. Bunn mesmerises the sentry and strides in.
Molly now returns and we learn that she does in fact care for Murphy. Believing him to be blind, she does his housework for him, telling him that it is the act of the 'little people' or, rather more specifically, that of the Fairy Cleena, their queen. In a Trio Molly and Murphy tell Terence about Cleena, and the legend that her siren song lures young men to her caves, where they lie slumbering for fifty years.
Summoned by Terence's message, Lady Rosie and her maid Susan now arrive. To Terence's alarm, Susan reveals that Bunn had also brought with him another letter, this to be delivered to her mistress's father. The rebel is now even more mistrustful of Bunn and, although anxious to have some time alone with Rosie, determines that a close watch be kept on the Professor.
The three discuss this problem in song, midway in which it is resolved by the reappearance of Susan (who had absented herself on a romantic errand to the guard-room) to whom Bunn is now entrusted -- to little avail since he, professing himself to be a detective on a mission of importance, slips away to Murphy's cabin to don a disguise which he has brought with him.
There now enter the Lord Lieutenant, his Countess, and their Private Chaplain, Dr. Fiddle, D.D. The Lord Lieutenant describes how he came to get married. He then enquires about the arrival of Professor Bunn who, it is now revealed, has been engaged in the capacity of conjuror to entertain the younger children of the village. After a song sung by the countess, Bunn's note to the Lord Lieutenant is eventually delivered to him. It tells him of the existence of the Clan-na-Gael, advises him that the probable hiding place of the rebel leader is in the Caves of Carrig-Cleena, up in the hills, and urges him to send along some troops. Molly and Murphy, entering from backstage, overhear this. She is justifiably upset when he accepts the Viceroy's proposition that he become his (paid) official musician, switching his allegiance to the English side, and departs in a huff.
The Lord Lieutenant has issued orders that troops be sent to Carrig-Cleena, and Rosie wonders how she shall get word of warning to her lover, whom she believes has already departed for his hideout. She sings a lovely air in which she hopes for a brighter tomorrow.
However, Terence has not yet left for the caves. When Rosie explains the situation to him, he determines to lay hands on Bunn immediately, now knowing him to be a traitor, and is not fooled when the latter emerges from Murphy's cabin, now disguised as an old man. Differences are forgotten, however, when Molly and Bunn come up with a plan to put off the soldiery. Terence is to tell them about the Fairy Cleena legend, Bunn (as an old man) will pretend that he has been one of her victims, and Molly will put in an appearance as Cleena herself.
The troops now arrive in a blaze of splendour, proclaiming themselves to be Devonshire men. Their Sergeant is close on their heels, and sings a swaggering song. The deception is then enacted as planned, Bunn relating his experiences in song and the whole affair being crowned by Molly's eldritch wails. The soldiers are taken in, and resolve not to go to Carrig-Cleena; in the finale their view is expressed and we hear also the exhortations of the viceregal party. Another Molly appearance disperses the terrified assembly, and with this the curtain falls.
Act Two
Act Two is set at night outside the Caves of Carrig-Cleena. The chorus of rebels sing of their great wariness against the foe. Terence now brings the good news that the troops are not coming, and this evinces a short chorus of praise for Bunn and his plan.
The village girls then arrive, and everyone dances a jig. Alas, Molly rushes in with the unwelcome news that the troops have been persuaded to change their mind, and are on the way. Again under suspicion, Bunn is now a villain. Despair is rife, but Terence raises his comrades'morale with a fine song about the quality of the Irish people. Rosie and Susan have followed Terence to the caves, and his followers are aghast at his liaison; the lovers explain how they first met.
Enter now Professor Bunn whose brain is again engaged to devise a plan of action. He suggests that Molly again impersonate Cleena, but accidentally offends her with the suggestion that she importune all the young soldiers; the subject is chewed over by the protagonists in a concerted number. Bunn proposes to present a vision of Cleena by a light/mirror projection, and sings an 'illusion' song.
To add to the effect, Bunn also proposes to appear in the guise of a goblin. At this point there enters Murphy, who is going to pretend that after his visit to the fairy caves, his sight was miraculously 'restored' to him. The 'mirror' illusion is mounted for his benefit and, deceived, he falls in a faint.
Murphy's presence is for some reason generally regarded as being suspicious, and he is questioned closely. The truth about his sight at last emerges, and the deceit grieves Molly greatly. But when he bids her farewell she is greatly moved, and realises that she loves him.
The sergeant now arrives, in advance of his party, and Terence attempts to revive fears of the Cleena legend. Enter the Lord Lieutenant and Countess, followed by the soldiers, who are directed to arrest Terence and his rebels. Rosie flings herself into Terence's arms, declaring her love. The Viceroy, of course, does not approve of the situation: not only are his adversaries rebels, who must be shot, his daughter must naturally marry only an aristocrat.
This may seem an impossible situation, but it is not. It transpires that Rosie is half American, on her mother's side,and since "America is the friend of Ireland" there should be no quarrel and Terence's band "are no longer rebels". Furthermore, Terence is of course indeed an aristocrat, having been descended from Brian Boru (as we learned in Act One). All can now therefore end happily and in the finale the company sing of the "typical Irish ball" with which they intend now to celebrate.
The Emerald Isle (1901) was the last score undertaken by Sir Arthur Sullivan, who died before completing it. It was begun after the success of The Rose of Persia (1899) and on the promise of a libretto of that opera's caliber, which had stimulated Sullivan as few had in a decade. Producer Richard D'Oyly Carte contracted Edward German to complete the score after Sullivan's death. German was well-known for his orchestral music, incidental music scores, ballads, and a few short operettas. His talents had been publicly acknowledged by Sullivan before the elder composer's death.
Sullivan completed only the first two numbers in full score. Many of the rest he had sketched out. The untouched numbers are mostly solo material -- which he would have relied on the soloists to learn and execute quickly -- and the finale to act two -- which would have been a reprise, also easy to learn quickly.
It would be nice to say that Sullivan's last work was, if not the culmination of a 30 year career in music, at least another jewel in what was already a rather stunning operatic crown. There are moments of musical inspiration, but in general the opera is tailor-made for Sullivan's talents, which remained for the most part unchallenged.
Not that the score is devoid of some musical gems from Sullivan's pen. David Eden praises the "Da Luan, da mort" chorus and the solo and chorus that close the first act as reminiscent of "the dreamy melancholy of the Celtic feeling, profoundly felt, but remote and steeped in the past." One might add to these the trio "On the heights of Glauntaun." Eden also praises the act one finale ("Come away, sighs the fairy voice") as "quite simply the most beautiful tune of his [Sullivan's] career; it is as lovely as the Londonderry Air itself."
The opening chorus offers neat juxtaposition of voices and dancing, and Sullivan's last double chorus appears later in the act (no. 12). There is also a "Rataplan" number to remind listeners of Cox and Box , the composer's first stage work. One of this author's favorite songs in the entire Sullivan canon is "Oh, have you met a man in debt" from act two, especially as sung so energetically by Alan Borthwick on Prince Consort's 1982 recording. But, in general Sullivan's contribution to the score is reminiscent rather than fresh. Though he may have captured a "Celtic feeling" once or twice, Sullivan (and Hood) seem content to provide plenty of jigs that are only stereotypically expressive of Ireland. "Sing a rhyme of Once upon a time" in act two must rank at the bottom of Sullivan's accomplishments, and one can only hope that if he had lived he would have improved it.
Basil Hood was never able to produce a libretto as consistent as The Rose of Persia, though he continued to attempt to do so after The Emerald Isle. Hood's fondness for felicitous word-play is in full evidence in this opera, though it can become somewhat trying in some places. Also in evidence is Hood's liking for allowing his actors latitude to ad lib, as in the scene in act one involving the hypnotized soldier and the act two scene between the Sergeant and the Countess.
Hood's story is tailor-made for the talents of the Savoy's turn-of-the-century team (soprano Isabel Jay, contralto Rosina Brandram, tenor Robert Evett, baritone Henry Lytton, comic Walter Passmore), each of whom is provided with challenging material either as actor or as singer. The conclusion, however, is weak, long in coming, and without the sparkle present even in a work like Ruddigore, whose logical and somewhat legalistic conclusion it resembles. The Emerald Isle holds the Savoy record for the most amount of dialogue between its penultimate number and the finale, dragging in as it does a long scene between the Sergeant and the Countess which includes a recitation in the Sergeant's thick Devonshire accent. The humor of such a scene must have been obvious in performance.
The person who comes out best is Edward German, and The Emerald Isle marked him as a composer with a great future in comic opera. He didn't forget the traditions of the Savoy, and in some cases his music is purely imitative. The patter song "Imitation" resembles in meter King Gama's song in Princess Ida. Hood would repeat the meter as well as the general idea in his "Imagination" song in Merrie England, and German would respond with a similar patter tune.
The contralto solo also resembles the dozen or so ballads set by Sullivan for Rosina Brandram. German broke no new ground here, and wouldn't do so in Merrie England or A Princess of Kensington -- though the expansive aria in the former is one of the best of the type.
There are distinct stylistic differences between the two men, however. German frequently changed time signature during a movement (more prevalent in Merrie England) while Sullivan preferred to stay with the same meter. German was also seldom content to allow material to repeat without some vocal or orchestral variation (for example "'Twas in Hyde Park beside the Row") and in general his vocal lines are more challenging. Most of these characteristics attain full flower in later works, but their beginnings are apparent here.
"Good-bye my native town," for example, is a song written as Sullivan never would, as is "I love you, I love you, what joy can compare" which follows immediately afterwards and "Listen! Hearken my lover!" earlier in the act. The soprano solo "Oh setting sun" is a precursor of stunning arias in Merrie England and Tom Jones .
The Emerald Isle was produced after the death of Richard D'Oyly Carte, the moving force behind the Gilbert and Sullivan series and the owner and manager of the Savoy Theatre. The opera was produced by his wife Helen, and the management of the company was taken over by William Greet before the end of its 205-performance run. Greet also produced Hood and German's Merrie England (1902) and A Princess of Kensington (1903) and it seemed as if the promise of Gilbert and Sullivan had at last led to a successful comic opera team. But German wearied of Hood and turned to a new librettist and a new theatre for his next opera Tom Jones (1907). German's operatic stage career was cut short by the disastrous experience of Fallen Fairies (1909), the final libretto of W.S. (now Sir William) Gilbert. Thereafter, he devoted himself to orchestral music and conducting.
1. Have you heard the brave news?
2. I'm descended from Brian Boru
3. Of viceroys though we've had
4. If you wish to appear
5. On the heights of Glantaun
6. Two is company
7. I am the Lord Lieutenant
8. At an early stage of life
9. When Alfred's friends
10. Oh, setting sun
11. Their courage high
12. That we're soldiers
13. Now this is the song of the Devonshire men
14. It is past my comprehension
15. Many years ago I strode
16. Their fathers fought at Ramillies
17. Is there anyone approachin'?
18. Bread, it's for him
19. Och! The spalpeen
20. Oh, have you met a man in debt?
21. 'Twas in Hyde Park
22. I cannot play at love
23. The age in which we're living
24. Sing a rhyme
25. Listen! Hearken my lover
26. Goodbye, my native town
27. I love you! I love you!
28. There was once a little soldier
29. With a big shillelagh
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