In late 19th century England, fairies were very much in vogue with J. M. Barrie writing about Peter Pan and Tinkerbell, controversy over a " photograph" of little girls with fairies and Cicely Mary Barker painting delightful pictures of Flower Fairies.

So it is not surprising that Arthur Sullivan's diary entry for Wednesday, 19 October 1881 states: " Gilbert came, sketched out an idea for a new piece - Lord Chancellor, Commander in Chief, Peers, Fairies, etc. - funny but at present vague" .

Since their " Patience" was still playing to appreciative audiences in the electrically lighted Savoy, there was plenty of time for Gilbert to become more positive. And indeed, by June 1882 Sullivan had a libretto and was hard at work on the score of the new opera.

Gilbert and Sullivan had a continuing problem in that after opening in London, pirating of their works was rife in America, with many versions earning hansome profits for all concerned, except the composer and the librettist! So a plot was hatched of Gilbertian cunning to present this newest opera simultaneously in London and the USA. To deepen the secrecy, the name of the new work was said to be " Periola" - until opening night when the banished fairy Iolanthe emerged from the frog pond in all her weedy glory, transforming the name of the opera. Pity the poor performers who had to remember her new name.

In " Iolanthe" Gilbert inserted his usual topical references, this time to legal malpractices and to Captain Eyre Massey Shaw, social lion and newly appointed London Fire Chief whom he doubtless suspected would be present in the opening night audience. Gilbert also grasped the opportunity to satirise the House of Lords which even in 1882 was beginning to be seen as outmoded! Was Gilbert airing his personal opinions on the merits of the Lords? He is quoted as saying " (The characters) do not at all express my own views. They are supposed to be those of the wrong-headed donkey who sings them." Still unequivocally tongue-in-cheek?

Caryl Brahms states that " Iolanthe" is a " closely integrated work wherein both Gilbert and Sullivan are writing at their best in the genre" and it is astounding to realise that the work was completed while Gilbert built a new house and Sullivan suffered the grief of both his mother's and brother's deaths, as well as recurring bouts of illness. He also had to conduct the opening performance after being handed a note advising him that his life savings had been lost by his stockbroker.

Sullivan's fortunes were soon to revive, but we can reflect as we are transported to fairyland, that the wildly improbable when set to his music has left us all smiling - and thus, all a little richer.

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