Carte's musical talent would be helpful later in his career, as he was able to audition singers himself from the pianoforte.

Trial, a comic treatment of an English courtroom, was an unexpected hit, outrunning La Périchole, and becoming the first step in Carte's scheme to establish a new genre of English comic opera.

The matter was eventually settled in court, where a judge ruled in Carte's favour about two years later.

" Although Grossmith had reservations about cancelling his touring engagements and going into the " wicked " professional theatre ( a move that might lose him church and other engagements in the future ), and Richard D ' Oyly Carte's backers objected to casting a sketch comedian in the central role of a comic opera, Grossmith was hired.

Grossmith was a hit as the tradesmanlike John Wellington Wells, the title role in The Sorcerer, and became a regular member of Richard D ' Oyly Carte's company.

Grenville wrote an account of affairs in the west of England, which was printed in T. Carte's Original Letters ( 1739 ).

It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century.

Two more Gilbert and Sullivan successes followed, now produced by the D ' Oyly Carte Opera Company: The Pirates of Penzance ( 1880 ) and, finally, Patience ( 1881 ), which was later transferred to Carte's larger new theatre, the Savoy Theatre.

Sullivan felt that Gilbert was questioning his good faith, and in any event, Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House, to produce Sullivan's only grand opera, Ivanhoe.

After the First World War, Claridge's flourished due to demand from aristocrats who no longer maintained a London house, and under the leadership of Carte's son, Rupert D ' Oyly Carte, a new extension was built in the 1920s.

" Patience was not the first satire of the aesthetic movement played by Richard D ' Oyly Carte's company at the Opera Comique.

Finally, the Carte was intended to make fares more equitable ; before the Carte's introduction, those who lived further from the city centre paid much more than more centrally located residents.

In 1883, Cellier left the D ' Oyly Carte company, but he was back for brief periods as music director with D ' Oyly Carte's touring companies for Princess Ida ( 1884 ) and The Mikado ( 1885 ).

He now ceased to support the Roman Catholics or the king's cause ; opposed the treaty between Ormonde, and the confederates ; supported the project of union between O ' Neill and the parliament ; and in 1649 entered into communications with Cromwell, for whom he performed various services during the Cromwellian conquest of Ireland, though there appears no authority to support Carte's story that Antrim was the author of a forged agreement for the betrayal of the king's army by Lord Inchiquin ( Life of Ormonde, iii.

On tour in 1871, Carte conducted Cox and Box by composer Arthur Sullivan and dramatist F. C. Burnand, in tandem with English adaptations of two Offenbach pieces, called Rose of Auvergne and Breaking the Spell, in which Carte's client Selina Dolaro appeared.

In 1874, Carte's light opera company presented The Broken Branch, an English version of Gaston Serpette's La branch cassée, starring Pauline Rita.

* October 10 – Richard D ' Oyly Carte's Savoy Theatre opens in London, the world's first public building to be fully lit by electricity, using Joseph Swan's incandescent light bulbs.

* October 10-Richard D ' Oyly Carte's Savoy Theatre opens in London, the world's first public building to be fully lit by electricity, using Joseph Swan's incandescent light bulbs.

" Mr. R. D ' Oyly Carte's Opera Bouffe Company " took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq.

After Carte's production of The Chieftain ended in March 1895, the Theatre briefly hosted the Carl Rosa Opera Company and then closed until late 1895, when Carte resumed productions at the theatre.

François Cellier, who had taken over from his brother as Carte's music director in London, adapted the score for children's voices.

Carte's children's production earned enthusiastic reviews from critic Clement Scott and the other London critics, as well as the audiences, including children.

At least one D ' Oyly Carte company, and sometimes as many as three, played Pinafore under Carte's aegis every year between 1878 and 1888, including its first London revival in 1887.

To supplement his income as a performer, Carte's father joined the firm of Rudall, Rose & Co., musical instrument makers and music publishers, in 1850.

Well-educated, with an organisational ability, business acumen, focus on detail and diplomatic skills that surpassed even Carte's, Lenoir gradually became intensely involved in all of his business affairs.

By this time, Helen Lenoir had been promoted from Carte's secretary to his assistant.

They chose talented actors, few of whom were well-known stars, and Carte's agency provided many of the artists.

Carte's investors in the Comedy Opera Company advocated cutting their losses and closing the show.

Carte's stagehands managed to ward off their backstage attackers and protect the scenery and props.

Carte's assistant, Helen Lenoir, who became his wife in 1888, made fifteen visits to America in the 1880s and 1890s to promote Carte's interests, superintending arrangements for American productions and tours of each of the new Gilbert and Sullivan operas.

Some, however, were new full-length pieces either for the Savoy or for Carte's touring companies, which toured the Gilbert and Sullivan operas, and these new works, extensively.

Gilbert scholar Andrew Crowther comments, " Effectively, contract made and Sullivan Carte's employees – a situation which created its own resentments.

After Carte's death, his wife Helen Carte assumed management of the theatre.

In 1915, Richard D ' Oyly Carte's son, Rupert D ' Oyly Carte, took over management of the theatre.

After Rupert D ' Oyly Carte's death in 1948, his daughter, Bridget D ' Oyly Carte, succeeded to the D ' Oyly Carte Opera Company and became a director and later president of the Savoy Hotel group, which controlled the theatre.

That is in itself evidence of a kind of discomfort with achievement measured in terms of identifiable entities, and an announcement that continuity of thinking in whatever form, around whatever subject, is the real ambition.

Although Taft had been opposed to the annexation of the islands, and had told McKinley his real ambition was to become a justice of the Supreme Court of the United States, he reluctantly accepted the appointment.

Victor Hasselblad's real ambition was to make high-quality civilian cameras.

A high school senior, one year above Willow and the rest of the group, he is highly intelligent and " tests well ", but his only real ambition lies in his music.

Trenchard declined the offer, citing his unsuitability for the role although his ambition for command may have been the real reason.

Offered the art chores for the launch of The New Teen Titans, written by Wolfman, Pérez ' real incentive was the opportunity to draw Justice League of America ( an ambition of Pérez ' which " seemed like a natural progress from the Avengers ").

According to Maginnis the “ finest and most complete realization of the ambition to conjoin real and painted space was left to Pietro Lorenzetti, working in the left transept.

He expressed optimism that Obama " has the ambition and potential to foster a real momentum for development ".

Bristol was one of the most striking and conspicuous figures of his time, a man of brilliant abilities, a great orator, one who distinguished himself without effort in any sphere of activity he chose to enter, but whose natural gifts were marred by a restless ambition and instability of character fatal to real greatness.

Soon, however, discord in the royal family and the growing disaffection of the pious, the soul of the nation, toward rulers who no longer evinced any appreciation of the real aspirations of their subjects made the Jewish nation easy prey for the ambition of the Romans, the successors of the Seleucids.

His real ambition, later confessed, was to pursue more training in painting.

He had gained some television writing experience scripting the comedy dubbed version of The Flashing Blade for the On the Waterfront Saturday morning children's programme in 1989 and the children's sketch show Breakfast Serials the following year, but his real ambition was to write television drama.

" The New York Times stated: " he and his creators conjure such a convincing, cohesive and enthralling re-imagination of the real world that it sets a new standard for sophistication and ambition in electronic gaming.

And now, for the first time, we have a real chance to fulfill the U. N. Charter's ambition of working " to save succeeding generations from the scourge of war, to reaffirm faith in fundamental human rights, in the dignity and worth of the human person, in the equal rights of men and women and nations large and small to promote social progress and better standards of life in larger freedom.

In his contemporary review, Steve Huey of AllMusic gave the album five stars out of five, writing, " In the Nightside Eclipse resoundingly demonstrated that there was real musical substance and ambition in the world of black metal.

* Tumbleweeds, a laconic cowpoke who would rather be anywhere else but has no real ambition to do anything.

The signing of Kevin Brown from Huddersfield Giants with a transfer fee in June for the 2013 season showed signs of real ambition for the club, and despite proving critics wrong by notching up an impressive 12 points in their first season back, the very poor start to the season proved crucial as Widnes finished at the bottom of the 2012 Superleague table on points difference alone.

There was frequently great rivalry and even dislike between officers based " on the divisions " and officers based at headquarters, with the former seeing the latter as elitist fast-trackers who did not know what real police work was all about, and the latter seeing the former as unimaginative " plods " without any real ambition or ability.

Hilda, for example, seems to alternate roles between an inspiring force, urging Solness to temper his rampant ambition and so find real happiness, and a temptress, pushing Solness to commitments he cannot possibly fulfil.

His ambition rising in proportion to his success, Gavarni from this time followed the real bent of his inclination, and began a series of lithographed sketches, in which he portrayed the most striking characteristics, foibles and vices of the various classes of French society.

Critics of the time did not react well ; typical was Bosley Crowther's review in The New York Times, which read in part, " evident talent has been spent upon a pointless, trashy yarn, and the best that he has accomplished is a turgid pictorial grotesque ... he tried to bluff it with a very poor script — and failed ... screenplay is without any real dramatic virtue, reason or valid story-line ... little more than a melange of maggoty episodes having to do with the devious endeavors of a cheap London night-club tout to corner the wrestling racket — an ambition in which he fails.

" He also remarked that " it was a foregone conclusion that writing of any technical ambition, about new acts of any real excitement or interest, would make it in the mag only by the sheerest accident.

" Greenwood calls the men Elvis collected as buddies, " men who lacked any real ambition or abilities.