15 - ‘See how the Fates their gifts allot’: the reception of productions and translations in continental Europe

Summary

The chronicle of Savoy opera in non-English-speaking countries is an entertaining story of flops and successes, of traditions and prejudices, of copyright conflicts, of translations and adaptations, of creativeness and routine.

The first and most important impulse towards the dissemination of Savoy opera in continental Europe came from the guest tours of the D'Oyly Carte Company. At three different times in 1886 and 1887 Richard D'Oyly Carte had his companies crossing the Channel to play certain of the operas in different centres in Europe, including Vienna and Berlin, Amsterdam and Copenhagen.

The success of the Savoy operas at home quickly came to the attention of continental theatre agents, who were always ready for novelties. Most did not want to pay for expensive stage rights and were always on the lookout for a bargain, and in this regard international copyright law worked in their favour. At that time in Great Britain there were no legal grounds to secure a dramatist's or, especially, a composer's rights outside his own country and, consequently, to prevent unauthorised production of theatre works. On 5 December 1887 the important Berne International Union for the Defence of Literature and Art Works came into force, but the number of countries to sign at first was quite small and there were notable absentees: Austria-Hungary, Holland, Russia, Denmark and Sweden. Theatres and publishing houses in these countries could continue doing as they pleased: no convention, no infringement.