HMS Pinafore: Act II, Song: Fair moon, to thee I sing Cover Image

HMS Pinafore: Act II, Song: Fair moon, to thee I sing: Light Opera, Orchestra Accompaniment, Conductor Score

$5.00 USD

HMS Pinafore: Act II, Song: Fair moon, to thee I sing: Light Opera, Orchestra Accompaniment, Conductor Score

Name: HMS Pinafore: Act II, Song: Fair moon, to thee I sing: Light Opera, Orchestra Accompaniment, Conductor Score
Brand: Alfred Music
SKU: 36-A486001
Price: 5.00 USD
Availability: OutOfStock

By Gilbert and Sullivan

Item: 36-A486001

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H.M.S. PINAFORE; or, THE LASS THAT LOVED A SAILOR is a comic two-act opera and the fourth opera collaboration between composer Arthur Sullivan (1842-1900) and librettist W. S. Gilbert (1836-1911). Lampooning British social class, the Royal Navy, and unqualified people who rise to positions of authority, the work became an international sensation following the London premiere at the Opera Comique on May 25, 1878, becoming the second-longest running musical theater work up until that time. The song FAIR MOON, TO THEE I SING is sung by lyric baritone Captain Corcoran at the opening of Act II, where he reviews his concerns regarding his "kindly crew rebels," that his "daughter to a tar is partial," that his friends have abandoned him, and that he is under threat of a court-martial. Instrumentation: 2.1.2.1: 2.0.0.0: Str (4-4-3-3-3 in set): Bar. Solo. Reprint edition.

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-89-563964-2

ISBN13: 979-889-563-9641

UPC: 612735735029

SKU: 36-A486001

Instrumentation: 2.1.2.1: 2.0.0.0: Str (4-4-3-3-3 in set): Bar. Solo

More about this title

About the Composer: William S. Gilbert

William S. Gilbert (1836-1911) was a librettist, playwright, and poet whose collaboration with composer Arthur Sullivan defined Victorian comic opera. Gilbert crafted witty, fast-paced libretti that lampooned British institutions, social hierarchies, and human folly with sharp satire and clever wordplay. His scripts demanded precise comic timing and clear diction from singers, making his works both musically and theatrically demanding for performers.

Gilbert's ability to blend sophisticated humor with accessible melodies revolutionized musical theater. His influence extends far beyond the Victorian era; conductors and directors continue to study his structural choices and comedic pacing as models for how text and music can serve each other in ensemble works.

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Why we love this

This baritone solo opens Act II with character-driven vulnerability that gives your lead singer real dramatic work to do beyond the vocal line. The orchestration provides elegant support without drowning out the text, letting every complaint and worry Captain Corcoran sings land clearly with the audience. It's a perfect moment to showcase how Gilbert and Sullivan balance comedy with genuine pathos.

What to expect

Poignant and wry. Captain Corcoran's worries tumble out with an underlying melancholy that contradicts the comic setup. The orchestration wraps his concerns in warmth and dignity, giving the moment a bittersweet humanity that makes the satire land harder.

Who it's for

Opera conductors preparing a full or concert performance of H.M.S. Pinafore who need a clean, professional orchestral score for this essential Act II solo. Baritone singers performing character roles in light opera who want a score that clarifies both the vocal line and the dramatic arc of the moment.

How to get the most out of it

Shape the phrases to match the captain's escalating anxiety. Early lines about his kindly crew should sit comfortably; as his concerns mount, press forward slightly to mirror his emotional spiral.
Ensure the orchestra balances at a level that lets every word of the libretto cut through. This is storytelling first; the melody serves the text.
Work with your baritone on the contrast between his public persona (dignified naval officer) and his private fears. The humor lives in that gap.
Keep the tempo steady and conversational. This is a man thinking aloud, not a showstopper, so resist the urge to drag or over-dramatize.

How to use it

Place this as a dramatic anchor in the second act, using it to deepen the audience's investment in Corcoran's character after the farcical chaos of Act I. It works beautifully in a concert staging where individual arias take on extra weight, or as part of a full production where it signals the emotional stakes beneath the comedy.