The Gondoliers, an 1889 comic opera by Gilbert and Sullivan, stands out for its Italian backdrop, diverging from their usual English settings. Despite this geographical shift, it retains the duo's signature lighthearted and humorous tone. It was also their last collaborative triumph before their infamous falling out.

Background and Characters:

Set in 1750, the story unfolds between the charming locales of Venice and Barataria. The central figures include the Duke and Duchess of Plaza-Toro, along with their daughter Casilda. The Duke's attendant, Luiz, and an old nurse named Inez also play crucial roles. Adding to the mix are the Grand Inquisitor, Don Alhambra Del Bolero, and the gondoliers Marco and Giuseppe Palmieri. Completing the ensemble are the flower girls, Gianetta and Tessa.

Narrative Overview:

In Venice, a tale of romance and comedy begins with twenty-four maidens vying for the attention of two gondoliers, Marco and Giuseppe. To decide fairly, the gondoliers blindfold themselves and end up choosing Gianetta and Tessa to marry. Meanwhile, new arrivals from Spain include the Duke and Duchess of Plaza-Toro and their daughter Casilda, who unwittingly learn about her secret marriage in infancy to the heir of the Barataria throne.

The Grand Inquisitor reveals that Casilda's husband, spirited away as a baby, is now among the gondoliers. The king's death prompts a search for the rightful heir, with the nurse Inez, who cared for the prince, summoned to identify him. Until then, the youthful gondoliers are both instructed to rule Barataria as one entity.

Twists and Turns:

Marco and Giuseppe, initially indifferent to monarchy, embrace their newfound royal roles with a plan for egalitarian rule. They promote equality, with everyone sharing the power, including their fellow gondoliers. However, they must part from their wives, Gianetta and Tessa, for a few months until the true king is identified. Both brides dream of becoming queens while the husbands embark on their regal journey.

Three months pass, and the innovative governance by Marco and Giuseppe sees them living modestly, serving their subjects rather than basking in royal luxury. Surprisingly, Gianetta and Tessa arrive in Barataria, eager to solve the mystery of who among them is queen. The Grand Inquisitor explains the pre-existing marriage to Casilda, sparking concern of bigamy.

The unfolding drama sees Casilda, now in Barataria, expressing her readiness to fulfill her role as queen, albeit without love for her royal "husband." She reveals her affection lies with Luiz, unaware of his true identity. Meanwhile, the Duke attempts to instill courtly manners in the gondoliers, with little success.

Resolution and Revelations:

The awaited nurse, Inez, finally arrives to settle the royal dispute. Astonishingly, she discloses that neither Marco nor Giuseppe is the true king. The real king is Luiz, who was swapped with her own son to protect him from traitors. With this revelation, happiness abounds as Casilda unites with her beloved Luiz, now both king and queen, while Marco and Giuseppe return joyfully to their gondoliering life.

Critical Analysis:

Gilbert's choice to set The Gondoliers in Italy provided him with a creative canvas to critique the idea of monarchy through satire. While he approached the topic with humor, he deftly avoided direct commentary on the British monarchy, as his audience might not have welcomed such scrutiny. The story's Venetian and Barataria settings allowed for a playful examination of republican ideals, appealing to both British and American sensibilities.

Marco and Giuseppe, emblematic of liberty-loving individuals, find themselves bewildered by the complexities of court life, highlighting their yearning for freedom. Their stewardship as rulers reflects their inability to conform to the traditional pomp of monarchy, as they continue to serve their subjects rather than command them. The opera subtly underscores the notion that true freedom comes from independence from both royal and ceremonial constraints.

Yet, Gilbert skillfully critiques republican government as well, suggesting that unchecked democracy can lead to mediocrity. Through Don Alhambra's song, he portrays the pitfalls of leveling all societal classes, pointing out that when all rise to prominence, true excellence may be obscured. This nuanced commentary entertains audiences across social spectrums, without alienating any particular group, a testament to Gilbert's brilliant balancing act.