Ruddigore

Act II At Ruddigore Castle, Robin (now Sir Ruthven) tries to come to grips with being a bad baronet, a task at which he proves to be spectacularly lacking.

Every Baronet of Ruddigore since then had fallen under the curse's influence, and died in agony once he could no longer bring himself to continue a life of crime.

Examples include "When the Foeman bares his steel" (The Pirates of Penzance), "In a doleful train" (Patience) and "Welcome, gentry" (Ruddigore).

Finished score of new finale Gilbert and Sullivan made the following changes: *The initial title, Ruddygore, was changed: because of claims that "ruddy" was too similar to the then-taboo curse word " bloody ", it was shortly changed to Ruddigore.

Fortunately, The Mikado was still playing strongly, and Sullivan prevailed on Gilbert to delay production of Ruddigore.

He quibbles that, under the terms of the curse, a Baronet of Ruddigore can die only by refusing to commit a daily crime.

In early 1887, shortly into the run of Ruddigore, Braham informed Carte that she was pregnant with her second child, a daughter, who would be born on 6 May.

In Ruddigore, the sailor character dances a hornpipe, while in The Mikado, Sullivan quotes a Japanese war song in "Miya Sama".

Jacobs, p. 248 When Ruddigore closed after nine months, Carte mounted revivals of earlier Gilbert and Sullivan operas at the Savoy for almost a year.

Less formal counterpoint is employed in numbers such as "Brightly Dawns our Wedding Day" (The Mikado) and "When the Buds are Blossoming" (Ruddigore).

Many years previously, she had been betrothed to "a god-like youth" who turned out to be Sir Roderic Murgatroyd, one of the bad baronets of Ruddigore.

Murder and Sullivan by Sarah Hoskinson Frommer, which involves a production of Ruddigore; Ruddy Gore by Kerry Greenwood concerns murders taking place during a 1920s revival of the opera.

Revisions in the 1920s Ruddigore was not revived professionally during the authors' lifetimes.

Robin reveals that he is indeed Sir Ruthven, having fled his home twenty years previously to avoid inheriting the Baronetcy of Ruddigore and its attendant curse.

The Ghost's High Noon by John Dickson Carr quotes the song of the same name from Ruddigore.

The recording and the production were based in part on Hulme's research, which also led to the 2000 Oxford University Press edition of the Ruddigore score, in which the music for some passages was published for the first time.

There is no commercial recording of Ruddigore as Gilbert and Sullivan left it, but the 1987 New Sadler's Wells recording largely presents the opera with the materials that were included on its first night.

When Ruddigore closed, no new opera was ready.