sarcastic joke" (King Gama, Ladies' Chorus) Dialogue in which the Princess agrees to let her brothers fight for her "I built upon a rock" (Princess) "When anger spreads his wing" (Double chorus) "This helmet, I suppose" (Arac, Guron, Scynthius, Chorus) Dialogue preceding the fight "This is our duty plain" (Chorus during the fight) Dialogue and finale The Chappell vocal score was re-issued to conform to this revised order. The other significant change is that, at some point in the 1920s, it became traditional to delete Lady Blanche's Act II song, "Come, mighty must" (although it continued to be printed in the vocal score). The song is included in the 1924 D'Oyly Carte recording, but on none of the three recordings the company made after that (1932, 1955, 1965). History of productions Princess Ida was not as successful as the Gilbert and Sullivan operas that had preceded it. In the midst of the unusually hot summer of 1884, Richard D'Oyly Carte closed the Savoy Theatre for a month, starting in mid-August. The opera had been running for seven months, a short period by the partnership's past standards. The opera re-opened for just three weeks, starting in mid-September, before giving way to a revival of The Sorcerer (revised) and Trial by Jury. Gilbert designed the costumes himself. Act I and Act III sets were by the Drury Lane designer Henry Emden, while the Act II set was by Hawes Craven. A New York production ran briefly in 1884, and there was a second American production in 1887. As had happened with their earlier operas in America, Carte, Gilbert and Sullivan could do nothing to stop producers from mounting unauthorised productions, since there was no international copyright treaty at the time. The U.S. courts held, however, that the act of publication made the opera freely available for production by anyone. In Australia, Princess Ida'''s first authorized performance was on 16 July 1887 at the Princess Theatre, Melbourne, produced by J. C. Williamson. Provincial tours of Princess Ida began in early 1884 and ended by mid-1885. The opera was revived on tour in December 1895, remaining in the touring repertory through 1896. It re-appeared in late 1897 or early 1898, and from then on was never out of the D'Oyly Carte touring repertory through the early years of the twentieth century. The first London revival, however, did not come until 30 December 1919. From