If a vote could be taken with all the Gilbert and Sullivan enthusiasts throughout the world as the electorate, to decide which of the operas was first favourite, there can be very little doubt but that The Mikado would come out easily at the top of the poll. The story is one of the most delightfully absurd in the whole series, and the final solution of the awful difficulties in which the characters find themselves is so cunningly delayed until the very last moment, and is then so mirth compelling in its swift cutting of the Gordian Knot, that it never misses its effect of hearty laughter, no matter how often it is heard.
The personages, too, are so happily contrasted, offering splendid scope for whimsical fun and for finely lyrical tunes, that Sullivan had one of his very best chances hero. The music, even apart from the tale, is all delightful, whether it be the sentimental airs for the soprano or the tenor, or the Lord High Executioner's whimsical songs, or the Mikado's grim humour.
The ninth in the immortal series of Comic Operas, it came after Princess Ida, which, on its production, failed to win the whole-hearted welcome which had been given to the others. It may be that the satire which is its basis was of too subtle an order to find favour with audiences which had learned to look for more obvious fun. However that may be, the immediate success of the Mikado more than atoned for any lack of appreciation given to Princess Ida, and the whole world of music immediately hailed the new work as the best which had yet appeared. Produced on March 14, 1885, it ran continuously for 672 nights, and has since been played more often and in more places, than it would be at all easy to count.