1890, during the run of The Gondoliers, when Gilbert objected to Carte's financial accounts for the production, including a charge to the partnership for the cost of new carpeting for the Savoy Theatre lobby. Gilbert believed that this was a maintenance expense that should be charged to Carte alone. Carte was building a new theatre to present Sullivan's forthcoming grand opera, and Sullivan sided with Carte, going so far as to sign an affidavit that contained erroneous information about old debts of the partnership. Gilbert took legal action against Carte and Sullivan, vowing to write no more for the Savoy, and so the partnership came to an acrimonious end. Sullivan wrote to Gilbert in September 1890 that he was "physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds". Sullivan's only grand opera, Ivanhoe, based on Walter Scott's novel, opened at Carte's new Royal English Opera House on 31 January 1891. Sullivan completed the score too late to meet Carte's planned production date, and costs mounted; Sullivan was required to pay Carte a contractual penalty of £3,000 () for his delay. The production lasted for 155 consecutive performances, an unprecedented run for a grand opera, and earned good notices for its music. Afterwards, Carte was unable to fill the new opera house with other opera productions and sold the theatre. Despite the initial success of Ivanhoe, some writers blamed it for the failure of the opera house, and it soon passed into obscurity. Herman Klein called the episode "the strangest comingling of success and failure ever chronicled in the history of British lyric enterprise!" Later in 1891 Sullivan composed music for Tennyson's The Foresters, which ran well at Daly's Theatre in New York in 1892, but failed in London the following year. Sullivan returned to comic opera, but because of the fracture with Gilbert, he and Carte sought other collaborators. Sullivan's next piece was Haddon Hall (1892), with a libretto by Sydney Grundy based loosely on the legend of the elopement of Dorothy Vernon with John Manners. Although still comic, the tone and style of the work was considerably more serious and romantic than most of the operas with Gilbert. It ran for 204 performances, and was praised by critics. In 1895 Sullivan once more provided incidental music for the