

The nimble musical wit behind Gilbert's words, whose indelible melodies gave Victorian England a soundtrack of satirical joy.
Arthur Sullivan, born in 1842, carried a tune in his head from the start, the son of a military bandmaster. Trained at the Royal Academy and in Leipzig, he was a serious composer aiming for the heights of oratorio and grand opera, chafing at the light comic works that brought him fame and fortune. His fateful partnership with librettist W.S. Gilbert, however, proved alchemical. Sullivan's music—graceful, inventive, and perfectly timed—was the velvet glove that made Gilbert's satirical iron fist not just palatable but delicious. From the bobbing decks of 'H.M.S. Pinafore' to the delicate porcelain world of 'The Mikado,' he created a series of smash hits that defined light musical theatre. Despite knighthood and public adoration, he died in 1900 somewhat embittered, feeling his 'higher' musical aspirations had been drowned out by the very jingles that made him a household name.
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He was a compulsive gambler and frequently lost large sums at the racetrack, causing him financial stress.
Sullivan conducted the orchestra at the dedication of the Royal College of Music, where he was the first principal.
He wrote a successful ballet, 'Victoria and Merrie England,' for the Diamond Jubilee of Queen Victoria.
Despite their successful partnership, Sullivan and Gilbert often had a strained, business-like relationship and famously quarreled over a carpet.
“I have worked all my life to get the recognition I now have for comic opera, and now that I have it I don't want it.”