Jupiter is the fifth from the and the in the. It is a with a one-thousandth that of the Sun, but two-and-a-half times that of all the other planets in the Solar System combined.

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Jupiter and are; the other two giant planets, and are. Jupiter has been known to since antiquity. The named it after. When viewed from, Jupiter can reach an of −2.94, bright enough for its reflected light to cast shadows, and making it on average the third-brightest object in the after the and.

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Jupiter is primarily composed of with a quarter of its mass being, though helium comprises only about a tenth of the number of molecules. It may also have a rocky core of heavier elements, but like the other giant planets, Jupiter lacks a well-defined solid surface. Because of its rapid rotation, the planet's shape is that of an (it has a slight but noticeable bulge around the equator).

The outer atmosphere is visibly segregated into several bands at different latitudes, resulting in turbulence and storms along their interacting boundaries. A prominent result is the, a giant storm that is known to have existed since at least the 17th century when it was first seen. Surrounding Jupiter is a faint system and a powerful. Jupiter has at least, including the four large discovered by in 1610., the largest of these, has a diameter greater than that of the planet.

Jupiter has been explored on several occasions by, most notably during the early and missions and later by the. In late February 2007, Jupiter was visited by the probe, which to increase its speed and bend its trajectory en route to. The latest probe to visit the planet is, which entered into orbit around Jupiter on July 4, 2016. Future targets for exploration in the Jupiter system include the probable ice-covered liquid ocean of its moon. See also: Earth and its neighbor planets may have formed from fragments of planets after collisions with Jupiter destroyed those super-Earths near the Sun.

As Jupiter came toward the inner Solar System, in what theorists call the, gravitational tugs and pulls occurred causing a series of collisions between the super-Earths as their orbits began to overlap. Astronomers have discovered nearly 500 planetary systems with multiple planets. Regularly these systems include a few planets with masses several times greater than Earth's (super-Earths), orbiting closer to their star than Mercury is to the Sun, and sometimes also Jupiter-mass gas giants close to their star. Jupiter moving out of the inner Solar System would have allowed the formation of inner planets, including.

Physical characteristics Jupiter is composed primarily of gaseous and liquid matter. It is the largest of the four giant planets in the Solar System and hence its largest planet. It has a diameter of 142,984 km (88,846 mi) at its. The average density of Jupiter, 1.326 g/cm 3, is the second highest of the giant planets, but lower than those of the four. Composition Jupiter's upper atmosphere is about 88–92% hydrogen and 8–12% helium by percent volume of gas. A helium atom has about four times as much mass as a hydrogen atom, so the composition changes when described as the proportion of mass contributed by different atoms. Thus, is approximately 75% hydrogen and 24% helium by mass, with the remaining one percent of the mass consisting of other elements.

The atmosphere contains trace amounts of, and -based compounds. There are also traces of, and. The outermost layer of the atmosphere contains of frozen ammonia. The interior contains denser materials - by mass it is roughly 71% hydrogen, 24% helium, and 5% other elements. Through and measurements, trace amounts of and other have also been found. The atmospheric proportions of hydrogen and helium are close to the theoretical composition of the primordial.

Neon in the upper atmosphere only consists of 20 parts per million by mass, which is about a tenth as abundant as in the Sun. Helium is also depleted to about 80% of the Sun's helium composition. This depletion is a result of of these elements into the interior of the planet.

Based on, is thought to be similar in composition to Jupiter, but the other giant planets and have relatively less hydrogen and helium and relatively more and are thus now termed. Mass and size. Jupiter's diameter is one smaller (×0.10045) than that of the Sun, and one order of magnitude larger (×10.9733) than that of Earth. The Great Red Spot is roughly the same size as Earth. Jupiter's mass is 2.5 times that of all the other planets in the Solar System combined—this is so massive that its with the lies above the at 1.068 from the Sun's center. Jupiter is much larger than Earth and considerably less dense: its volume is that of about 1,321 Earths, but it is only 318 times as massive.

Jupiter's radius is about 1/10 the, and its mass is 0.001 times the, so the densities of the two bodies are similar. A ' ( M J or M Jup) is often used as a unit to describe masses of other objects, particularly and. So, for example, the extrasolar planet has a mass of 0.69 M J, while has a mass of 12.8 M J. Theoretical models indicate that if Jupiter had much more mass than it does at present, it would shrink. For small changes in mass, the would not change appreciably, and above about 500 (1.6 Jupiter masses) the interior would become so much more compressed under the increased pressure that its volume would decrease despite the increasing amount of matter. As a result, Jupiter is thought to have about as large a diameter as a planet of its composition and evolutionary history can achieve.

The process of further shrinkage with increasing mass would continue until appreciable was achieved, as in high-mass having around 50 Jupiter masses. Although Jupiter would need to be about 75 times as massive to and become a, the smallest is only about 30 percent larger in radius than Jupiter. Despite this, Jupiter still radiates more heat than it receives from the Sun; the amount of heat produced inside it is similar to the total it receives. This additional heat is generated by the through contraction.

This process causes Jupiter to shrink by about 2 cm each year. When it was first formed, Jupiter was much hotter and was about twice its current diameter. Internal structure Jupiter is thought to consist of a dense with a mixture of elements, a surrounding layer of liquid with some helium, and an outer layer predominantly of.

Beyond this basic outline, there is still considerable uncertainty. The core is often described as, but its detailed composition is unknown, as are the properties of materials at the temperatures and pressures of those depths (see below). In 1997, the existence of the core was suggested by gravitational measurements, indicating a mass of from 12 to 45 times that of Earth, or roughly 4%–14% of the total mass of Jupiter. The presence of a core during at least part of Jupiter's history is suggested by models of planetary formation that require the formation of a rocky or icy core massive enough to collect its bulk of hydrogen and helium from the. Assuming it did exist, it may have shrunk as convection currents of hot liquid metallic hydrogen mixed with the molten core and carried its contents to higher levels in the planetary interior. A core may now be entirely absent, as gravitational measurements are not yet precise enough to rule that possibility out entirely. Animation of Jupiter seen in infrared The uncertainty of the models is tied to the error margin in hitherto measured parameters: one of the rotational coefficients (J 6) used to describe the planet's gravitational moment, Jupiter's equatorial radius, and its temperature at 1 bar pressure.

The, which arrived in July 2016, is expected to further constrain the values of these parameters for better models of the core. The core region may be surrounded by dense, which extends outward to about 78% of the radius of the planet. Rain-like droplets of helium and neon precipitate downward through this layer, depleting the abundance of these elements in the upper atmosphere. Of have been suggested to occur on Jupiter, as well as on and and. Above the layer of metallic hydrogen lies a transparent interior atmosphere of hydrogen.

At this depth, the pressure and temperature are above hydrogen's of 1.2858 MPa and of only 32.938. In this state, there are no distinct liquid and gas phases—hydrogen is said to be in a supercritical fluid state. It is convenient to treat hydrogen as gas in the upper layer extending downward from the cloud layer to a depth of about 1,000, and as liquid in deeper layers. Physically, there is no clear boundary—the gas smoothly becomes hotter and denser as one descends. The temperature and pressure inside Jupiter increase steadily toward the core, due to the. At the pressure level of 10 (1 ), the temperature is around 340 K (67 °C; 152 °F).

At the region where hydrogen—heated beyond its critical point—becomes metallic, it is calculated the temperature is 10,000 K (9,700 °C; 17,500 °F) and the pressure is. The temperature at the core boundary is estimated to be 36,000 K (35,700 °C; 64,300 °F) and the interior pressure is roughly –4,500 GPa. Jupiter is perpetually covered with clouds composed of ammonia crystals and possibly. The clouds are located in the and are arranged into bands of different latitudes, known as tropical regions. These are sub-divided into lighter-hued zones and darker belts. The interactions of these conflicting patterns cause storms and.

Of 100 m/s (360 km/h) are common in zonal jets. The zones have been observed to vary in width, color and intensity from year to year, but they have remained sufficiently stable for scientists to give them identifying designations. Jupiter clouds (; October 2017) The cloud layer is only about 50 km (31 mi) deep, and consists of at least two decks of clouds: a thick lower deck and a thin clearer region. There may also be a thin layer of clouds underlying the ammonia layer. Supporting the idea of water clouds are the flashes of detected in the atmosphere of Jupiter. These electrical discharges can be up to a thousand times as powerful as lightning on Earth.

The water clouds are assumed to generate thunderstorms in the same way as terrestrial thunderstorms, driven by the heat rising from the interior. The orange and brown coloration in the clouds of Jupiter are caused by upwelling compounds that change color when they are exposed to light from the Sun. The exact makeup remains uncertain, but the substances are thought to be phosphorus, sulfur or possibly.

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These colorful compounds, known as, mix with the warmer, lower deck of clouds. The zones are formed when rising form crystallizing ammonia that masks out these lower clouds from view.

Jupiter's low means that the poles constantly receive less than at the planet's equatorial region. Within the interior of the planet transports more energy to the poles, balancing out the temperatures at the cloud layer. Great Red Spot and other vortices. Time-lapse sequence from the approach of, showing the motion of atmospheric bands and circulation of the Great Red Spot.

Recorded over 32 days with one photograph taken every 10 hours (once per Jovian day). The best known feature of Jupiter is the, a persistent storm that is larger than Earth, located 22° south of the equator. It is known to have been in existence since at least 1831, and possibly since 1665. Images by the have shown as many as two 'red spots' adjacent to the Great Red Spot. The storm is large enough to be visible through Earth-based with an of 12 cm or larger.

The object, with a of about six days. The maximum altitude of this storm is about 8 km (5 mi) above the surrounding cloudtops. Is decreasing in size (May 15, 2014).

The Great Red Spot is large enough to accommodate Earth within its boundaries. Suggest that the storm is stable and may be a permanent feature of the planet.

However, it has significantly decreased in size since its discovery. Initial observations in the late 1800s showed it to be approximately 41,000 km (25,500 mi) across. By the time of the flybys in 1979, the storm had a length of 23,300 km (14,500 mi) and a width of approximately 13,000 km (8,000 mi).

Observations in 1995 showed it had decreased in size again to 20,950 km (13,020 mi), and observations in 2009 showed the size to be 17,910 km (11,130 mi). As of 2015, the storm was measured at approximately 16,500 by 10,940 km (10,250 by 6,800 mi), and is decreasing in length by about 930 km (580 mi) per year. Storms such as this are common within the of. Jupiter also has white ovals and brown ovals, which are lesser unnamed storms. White ovals tend to consist of relatively cool clouds within the upper atmosphere.

Brown ovals are warmer and located within the 'normal cloud layer'. Such storms can last as little as a few hours or stretch on for centuries.

Even before Voyager proved that the feature was a storm, there was strong evidence that the spot could not be associated with any deeper feature on the planet's surface, as the Spot rotates differentially with respect to the rest of the atmosphere, sometimes faster and sometimes more slowly. In 2000, an atmospheric feature formed in the southern hemisphere that is similar in appearance to the Great Red Spot, but smaller. This was created when several smaller, white oval-shaped storms merged to form a single feature—these three smaller white ovals were first observed in 1938. The merged feature was named, and has been nicknamed Red Spot Junior. It has since increased in intensity and changed color from white to red. In April 2017, scientists reported the discovery of a 'Great Cold Spot' in Jupiter's thermosphere at its north pole that is 24,000 km (15,000 mi) across, 12,000 km (7,500 mi) wide, and 200 °C (360 °F) cooler than surrounding material.

The feature was discovered by researchers at the in Chile, who then searched archived data from the between 1995 and 2000. They found that, while the Spot changes size, shape and intensity over the short term, it has maintained its general position in the atmosphere across more than 15 years of available data. Scientists believe the Spot is a giant vortex similar to the Great Red Spot and also appears to be like the in Earth's thermosphere. Interactions between charged particles generated from Io and the planet's strong magnetic field likely resulted in redistribution of heat flow, forming the Spot.

View of Jupiter's southern lights, taken by the Jupiter's is fourteen times as strong as that of Earth, ranging from 4.2 (0.42 ) at the equator to 10–14 gauss (1.0–1.4 mT) at the poles, making it the strongest in the Solar System (except for ). This field is thought to be generated by —swirling movements of conducting materials—within the liquid metallic hydrogen core. The volcanoes on the moon emit large amounts of forming a gas torus along the moon's orbit. The gas is ionized in the magnetosphere producing and. They, together with hydrogen ions originating from the atmosphere of Jupiter, form a in Jupiter's equatorial plane. The plasma in the sheet co-rotates with the planet causing deformation of the dipole magnetic field into that of magnetodisk.

Electrons within the plasma sheet generate a strong radio signature that produces bursts in the range of 0.6–30. At about 75 Jupiter radii from the planet, the interaction of the magnetosphere with the generates a. Surrounding Jupiter's magnetosphere is a, located at the inner edge of a —a region between it and the bow shock.

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The solar wind interacts with these regions, elongating the magnetosphere on Jupiter's and extending it outward until it nearly reaches the orbit of Saturn. The four largest moons of Jupiter all orbit within the magnetosphere, which protects them from the solar wind. The magnetosphere of Jupiter is responsible for intense episodes of from the planet's polar regions. Volcanic activity on Jupiter's moon Io (see below) injects gas into Jupiter's magnetosphere, producing a torus of particles about the planet.

As Io moves through this torus, the interaction generates that carry ionized matter into the polar regions of Jupiter. As a result, radio waves are generated through a, and the energy is transmitted out along a cone-shaped surface. When Earth intersects this cone, the radio emissions from Jupiter can exceed the solar radio output. Orbit and rotation. Jupiter (red) completes one orbit of the Sun (center) for every 11.86 orbits of Earth (blue) Jupiter is the only planet whose with the Sun lies outside the volume of the Sun, though by only 7% of the Sun's radius.

The average distance between Jupiter and the Sun is 778 million km (about 5.2 times the average distance between Earth and the Sun, or 5.2 ) and it completes an orbit every 11.86 years. This is approximately two-fifths the orbital period of Saturn, forming a near between the two largest planets in the Solar System.

The elliptical orbit of Jupiter is inclined 1.31° compared to Earth. Because the of its orbit is 0.048, Jupiter's distance from the Sun varies by 75 million km between its nearest approach () and furthest distance (). The of Jupiter is relatively small: only 3.13°. As a result, it does not experience significant seasonal changes, in contrast to, for example, Earth and Mars. Jupiter's is the fastest of all the Solar System's planets, completing a rotation on its in slightly less than ten hours; this creates an easily seen through an Earth-based amateur. The planet is shaped as an, meaning that the diameter across its is longer than the diameter measured between its. On Jupiter, the equatorial diameter is 9,275 km (5,763 mi) longer than the diameter measured through the poles.

Because Jupiter is not a solid body, its upper atmosphere undergoes. The rotation of Jupiter's polar atmosphere is about 5 minutes longer than that of the equatorial atmosphere; three systems are used as frames of reference, particularly when graphing the motion of atmospheric features. System I applies from the latitudes 10° N to 10° S; its period is the planet's shortest, at 9h 50m 30.0s. System II applies at all latitudes north and south of these; its period is 9h 55m 40.6s. System III was first defined by, and corresponds to the rotation of the planet's magnetosphere; its period is Jupiter's official rotation.

The retrograde motion of an outer planet is caused by its relative location with respect to Earth Jupiter is usually the fourth brightest object in the sky (after the Sun, the and ); at times appears brighter than Jupiter. Depending on Jupiter's position with respect to the, it can vary in visual magnitude from as bright as −2.9 at down to −1.6 during with the Sun. The of Jupiter likewise varies from 50.1 to 29.8. Favorable oppositions occur when Jupiter is passing through, an event that occurs once per orbit. Earth overtakes Jupiter every 398.9 days as it orbits the Sun, a duration called the. As it does so, Jupiter appears to undergo with respect to the background stars. That is, for a period Jupiter seems to move backward in the night sky, performing a looping motion.

Because the orbit of Jupiter is outside that of Earth, the of Jupiter as viewed from Earth never exceeds 11.5°. That is, the planet always appears nearly fully illuminated when viewed through Earth-based telescopes. It was only during spacecraft missions to Jupiter that crescent views of the planet were obtained.

A small telescope will usually show Jupiter's four and the prominent cloud belts across. A large telescope will show Jupiter's when it faces Earth. Research and exploration Pre-telescopic research.

Infrared image of Jupiter taken by 's In 1932, identified absorption bands of ammonia and methane in the spectra of Jupiter. Three long-lived anticyclonic features termed white ovals were observed in 1938. For several decades they remained as separate features in the atmosphere, sometimes approaching each other but never merging. Finally, two of the ovals merged in 1998, then absorbed the third in 2000, becoming. Radiotelescope research In 1955, Bernard Burke and detected bursts of radio signals coming from Jupiter at 22.2 MHz.

The period of these bursts matched the rotation of the planet, and they were also able to use this information to refine the rotation rate. Radio bursts from Jupiter were found to come in two forms: long bursts (or L-bursts) lasting up to several seconds, and short bursts (or S-bursts) that had a duration of less than a hundredth of a second.

Scientists discovered that there were three forms of radio signals transmitted from Jupiter. • Decametric radio bursts (with a wavelength of tens of meters) vary with the rotation of Jupiter, and are influenced by interaction of Io with Jupiter's magnetic field. • Decimetric radio emission (with wavelengths measured in centimeters) was first observed by and Hein Hvatum in 1959. The origin of this signal was from a torus-shaped belt around Jupiter's equator. This signal is caused by from electrons that are accelerated in Jupiter's magnetic field.

• Thermal radiation is produced by heat in the atmosphere of Jupiter. Main article: Since 1973 a number of automated spacecraft have visited Jupiter, most notably the space probe, the first spacecraft to get close enough to Jupiter to send back revelations about the properties and phenomena of the Solar System's largest planet. Flights to other planets within the Solar System are accomplished at a cost in energy, which is described by the net change in velocity of the spacecraft,. Entering a from Earth to Jupiter from requires a delta-v of 6.3 km/s which is comparable to the 9.7 km/s delta-v needed to reach low Earth orbit. Fortunately, through planetary can be used to reduce the energy required to reach Jupiter, albeit at the cost of a significantly longer flight duration.

Flyby missions. Perijove 6 pass of Jupiter as viewed by Flyby missions Spacecraft Closest approach Distance December 3, 1973 130,000 km December 4, 1974 34,000 km March 5, 1979 349,000 km July 9, 1979 570,000 km February 8, 1992 408,894 km February 4, 2004 120,000,000 km December 30, 2000 10,000,000 km February 28, 2007 2,304,535 km Beginning in 1973, several spacecraft have performed planetary flyby maneuvers that brought them within observation range of Jupiter. The missions obtained the first close-up images of Jupiter's atmosphere and several of its moons. They discovered that the radiation fields near the planet were much stronger than expected, but both spacecraft managed to survive in that environment. The trajectories of these spacecraft were used to refine the mass estimates of the Jovian system. By the planet resulted in better measurements of Jupiter's diameter and the amount of polar flattening. Six years later, the missions vastly improved the understanding of the and discovered Jupiter's rings.

They also confirmed that the Great Red Spot was anticyclonic. Comparison of images showed that the Red Spot had changed hue since the Pioneer missions, turning from orange to dark brown. A torus of ionized atoms was discovered along Io's orbital path, and volcanoes were found on the moon's surface, some in the process of erupting.

As the spacecraft passed behind the planet, it observed flashes of lightning in the night side atmosphere. The next mission to encounter Jupiter was the Ulysses solar probe. It performed a flyby maneuver to attain a around the Sun. During this pass, the spacecraft conducted studies on Jupiter's magnetosphere. Ulysses has no cameras so no images were taken. A second flyby six years later was at a much greater distance.

Cassini views Jupiter and Io on January 1, 2001 In 2000, the Cassini probe flew by Jupiter on its way to, and provided some of the highest-resolution images ever made of the planet. The probe flew by Jupiter for a gravity assist en route to. Its closest approach was on February 28, 2007.

The probe's cameras measured plasma output from volcanoes on Io and studied all four Galilean moons in detail, as well as making long-distance observations of the outer moons and. Imaging of the Jovian system began September 4, 2006. Galileo mission. Jupiter as seen by the space probe The first spacecraft to orbit Jupiter was the probe, which entered orbit on December 7, 1995. It orbited the planet for over seven years, conducting multiple flybys of all the Galilean moons and.

The spacecraft also witnessed the impact of as it approached Jupiter in 1994, giving a unique vantage point for the event. Its originally designed capacity was limited by the failed deployment of its high-gain radio antenna, although extensive information was still gained about the Jovian system from Galileo. A 340-kilogram titanium was released from the spacecraft in July 1995, entering Jupiter's atmosphere on December 7. It parachuted through 150 km (93 mi) of the atmosphere at a speed of about 2,575 km/h (1600 mph) and collected data for 57.6 minutes before it was crushed by the pressure of about 23 at a temperature of 153 °C. It melted thereafter, and possibly vaporized. The Galileo orbiter itself experienced a more rapid version of the same fate when it was deliberately steered into the planet on September 21, 2003 at a speed of over 50 km/s to avoid any possibility of it crashing into and possibly contaminating Europa, a moon which has been hypothesized to have the possibility of.

Data from this mission revealed that hydrogen composes up to 90% of Jupiter's atmosphere. The recorded temperature was more than 300 °C (>570 °F) and the windspeed measured more than 644 km/h (>400 mph) before the probes vapourised.

Juno mission. Main article: NASA's mission arrived at Jupiter on July 4, 2016, and is expected to complete 37 orbits over the next 20 months. The mission plan called for Juno to study the planet in detail from a. On August 27, 2016, the spacecraft completed its first fly-by of Jupiter and sent back the first-ever images of Jupiter’s north pole. Future probes The next planned mission to the Jovian system will be the 's (JUICE), due to launch in 2022, followed by NASA's mission in 2025. Canceled missions There has been great interest in studying the icy moons in detail because of the possibility of subsurface liquid oceans on Jupiter's moons Europa, Ganymede, and Callisto. Funding difficulties have delayed progress.

NASA's ( Jupiter Icy Moons Orbiter) was cancelled in 2005. A subsequent proposal was developed for a joint / mission called, with a provisional launch date around 2020. EJSM/Laplace would have consisted of the NASA-led and the ESA-led. However, ESA had formally ended the partnership by April 2011, citing budget issues at NASA and the consequences on the mission timetable. Instead, ESA planned to go ahead with a European-only mission to compete in its L1 selection. Moons Wikimedia Commons has media related to. The Galilean moons, (in order of increasing distance from Jupiter) Classification Before the discoveries of the Voyager missions, Jupiter's moons were arranged neatly into four groups of four, based on commonality of their.

Since then, the large number of new small outer moons has complicated this picture. There are now thought to be six main groups, although some are more distinct than others. A basic sub-division is a grouping of the eight inner regular moons, which have nearly circular orbits near the plane of Jupiter's equator and are thought to have formed with Jupiter. The remainder of the moons consist of an unknown number of small irregular moons with elliptical and inclined orbits, which are thought to be captured asteroids or fragments of captured asteroids.

Irregular moons that belong to a group share similar orbital elements and thus may have a common origin, perhaps as a larger moon or captured body that broke up. Regular moons The inner group of four small moons all have diameters of less than 200 km, orbit at radii less than 200,000 km, and have orbital inclinations of less than half a degree. These four moons, discovered by and by in parallel, orbit between 400,000 and 2,000,000 km, and are some of the largest moons in the Solar System. Irregular moons This is a single moon belonging to a group of its own, orbiting halfway between the Galilean moons and the Himalia group. A tightly clustered group of moons with orbits around 11,000,000–12,000,000 km from Jupiter. Another isolated case; at the inner edge of the Ananke group, it orbits Jupiter in prograde direction.

This group has rather indistinct borders, averaging 21,276,000 km from Jupiter with an average inclination of 149 degrees. A fairly distinct retrograde group that averages 23,404,000 km from Jupiter with an average inclination of 165 degrees. A dispersed and only vaguely distinct retrograde group that covers all the outermost moons. Planetary rings. Main article: Jupiter has a faint system composed of three main segments: an inner of particles known as the halo, a relatively bright main ring, and an outer gossamer ring. These rings appear to be made of dust, rather than ice as with Saturn's rings. The main ring is probably made of material ejected from the satellites and.

Material that would normally fall back to the moon is pulled into Jupiter because of its strong gravitational influence. The orbit of the material veers towards Jupiter and new material is added by additional impacts. In a similar way, the moons and probably produce the two distinct components of the dusty gossamer ring. There is also evidence of a rocky ring strung along Amalthea's orbit which may consist of collisional debris from that moon. Interaction with the Solar System Along with the Sun, the influence of Jupiter has helped shape the Solar System.

The orbits of most of the system's planets lie closer to Jupiter's than the Sun's ( is the only planet that is closer to the Sun's equator in orbital tilt), the in the are mostly caused by Jupiter, and the planet may have been responsible for the of the inner Solar System's history. This diagram shows the in Jupiter's orbit, as well as the main.

Along with its moons, Jupiter's gravitational field controls numerous that have settled into the regions of the preceding and following Jupiter in its orbit around the Sun. These are known as the, and are divided into and 'camps' to commemorate the.

The first of these, was discovered by in 1906; since then more than two thousand have been discovered. The largest is.

Most belong to the Jupiter family—defined as comets with smaller than Jupiter's. Jupiter family comets are thought to form in the outside the orbit of Neptune.

During close encounters with Jupiter their orbits are into a smaller period and then circularized by regular gravitational interaction with the Sun and Jupiter. Due to the magnitude of Jupiter's mass, the center of gravity between it and the Sun lies just above the Sun's surface. Jupiter is the only body in the Solar System for which this is true. Image taken on July 23, 2009, showing a blemish of about 8,000 km (5,000 mi) long left by the.

Jupiter has been called the Solar System's vacuum cleaner, because of its immense and location near the inner Solar System. It receives the most frequent comet impacts of the Solar System's planets. It was thought that the planet served to partially shield the inner system from cometary bombardment.

However, recent computer simulations suggest that Jupiter does not cause a net decrease in the number of comets that pass through the inner Solar System, as its gravity perturbs their orbits inward roughly as often as it accretes or ejects them. This topic remains controversial among scientists, as some think it draws comets towards Earth from the while others think that Jupiter protects Earth from the alleged. Jupiter experiences about 200 times more and impacts than Earth. A 1997 survey of early astronomical records and drawings suggested that a certain dark surface feature discovered by astronomer in 1690 may have been an impact scar.

The survey initially produced eight more candidate sites as potential impact observations that he and others had recorded between 1664 and 1839. It was later determined, however, that these candidate sites had little or no possibility of being the results of the proposed impacts. More recent discoveries include the following: • A was photographed by Voyager 1 during its Jupiter encounter in March 1979. • During the period July 16, 1994, to July 22, 1994, over 20 fragments from the (SL9, formally designated D/1993 F2) collided with Jupiter's, providing the first direct observation of a collision between two Solar System objects.

This impact provided useful data on the composition of Jupiter's atmosphere. • On July 19, 2009, an was discovered at approximately 216 degrees longitude in System 2. This impact left behind a black spot in Jupiter's atmosphere, similar in size to. Infrared observation showed a bright spot where the impact took place, meaning the impact warmed up the lower atmosphere in the area near Jupiter's south pole. •, smaller than the previous observed impacts, was detected on June 3, 2010, by, an in Australia, and was later discovered to have been captured on video by another amateur astronomer in the.

• Yet another fireball was seen on August 20, 2010. • On September 10, 2012, another fireball was detected. • On March 17, 2016 an asteroid or comet struck and was filmed on video.

• This image was taken by the, using the, on April 21, 2014. Jupiter's atmosphere and its appearance, and hence its current appearance today may not resemble what it was when this image was taken. Depicted in this image, however, are a few features that remain consistent, such as the famous, featured prominently in the lower right of the image, and the planet's recognizable banded appearance. • ^ Refers to the level of 1 bar atmospheric pressure • Based on the volume within the level of 1 bar atmospheric pressure • See for example:. International Astronomical Union. October 1, 1975.

Retrieved October 24, 2010. That particular word has been in use since at least 1966.

Retrieved July 29, 2007. Find more about Jupiterat Wikipedia's • from Wiktionary • from Wikimedia Commons • from Wikinews • from Wikiquote • from Wikisource • from Wikibooks • from Wikiversity • Hans Lohninger; et al.

(November 2, 2005)... Virtual Institute of Applied Science. Retrieved March 9, 2007. • Dunn, Tony (2006).. Gravity Simulator. Retrieved March 9, 2007. — A simulation of the 62 moons of Jupiter.

• Seronik, G.; Ashford, A. Sky & Telescope. Archived from on December 10, 2012. Retrieved March 9, 2007. Retrieved May 2, 2007. • Cain, Fraser.. Universe Today.

Retrieved April 1, 2008. Archived from on October 20, 2011. Retrieved May 21, 2008. Planetary Science Research Discoveries.

University of Hawaii, NASA. Retrieved November 17, 2015. •, album of Juno imagery stitched into short videos • • Bauer, Amanda; Merrifield, Michael (2009).. Sixty Symbols.

Theatre poster The D'Oyly Carte Opera Company is a professional company that staged 's nearly year-round in the UK and sometimes toured in Europe, North America and elsewhere, from the 1870s until 1982. The company was revived for short seasons and tours from 1988 to 2003, and with it later co-produced two productions.

In 1875, asked the dramatist and the composer to collaborate on a short to round out an evening's entertainment. When that work, became a success, Carte put together a syndicate to produce a full-length Gilbert and Sullivan work, (1877), followed by (1878). After Pinafore became an international sensation, Carte jettisoned his difficult investors and formed a new partnership with Gilbert and Sullivan that became the D'Oyly Carte Opera Company. The company produced the succeeding ten Gilbert and Sullivan operas and many and companion pieces, mostly at the in London, which Carte built in 1881 for that purpose. The company also mounted tours in Britain, New York and elsewhere, usually running several companies simultaneously. Carte's able assistant, became his wife in 1888 and, after his death in 1901, she ran the company until her own death in 1913. By this time, it had become a year-round Gilbert and Sullivan touring repertory company.

Carte's son inherited the company. Beginning in 1919, he mounted new seasons in London with new set and costume designs, while continuing the year-round tours in Britain and abroad. With the help of the director and the conductor, Carte ran the company for 35 years. He redesigned the Savoy Theatre in 1928 and sponsored a series of recordings over the years that helped to keep the operas popular. After Rupert's death in 1948, his daughter inherited the company and hired as general manager. The company continued to tour for 35 weeks each year, issue new recordings and play London seasons of Gilbert and Sullivan. In 1961, the last copyright on the Gilbert and Sullivan operas expired, and Bridget set up and endowed a charitable trust that presented the operas until mounting costs and a lack of public funding forced the closure of the company in 1982.

It re-formed in 1988 with a legacy left by Bridget D'Oyly Carte, played short tours and London seasons, and issued some popular recordings. Denied significant funding from the, it suspended productions in 2003. With Scottish Opera, it co-produced 2013 and in 2016.

Some of the company's performers, over the decades, became stars of their day and often moved on to careers in. The company licensed the operas for performance in Australasia and to numerous amateur troupes in Britain and elsewhere, providing orchestra parts and prompt books for hire. The company kept the Savoy operas in the public eye for over a century and left an enduring legacy of production styles and stage business that continue to be emulated in new productions, as well as recordings. At the Theatre Royal, in, Ireland in September 1875, while there managing the first tour of Trial by Jury, Carte met a young Scottish actress,. She became fascinated by his vision for establishing a company to promote English comic opera and gave up her next engagement to join his theatrical organisation as his secretary. Lenoir was well-educated, and her grasp of detail and diplomacy, as well as her organisational ability and business acumen, surpassed even Carte's. She became intensely involved in all of his business affairs and soon managed many of the company's responsibilities, especially concerning touring.

She later travelled to America numerous times over the years to arrange the details of the company's New York engagements and American tours. Still, Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of three English adaptations of French opera bouffe and two one-act English curtain raisers ( Happy Hampstead and Trial by Jury). Carte himself was the musical director of this travelling company, which disbanded after the tour. In 1876, Carte found four and formed the Comedy Opera Company in 1876 to produce more works by, along with the works of other British lyricist/composer teams. With this theatre company, Carte finally had the financial resources, after many failed attempts, to produce a new full-length Gilbert and Sullivan opera.

Carte leased the Opera Comique, a small theatre off. The first comic opera produced by the Comedy Opera Company was Gilbert and Sullivan's, about a tradesmanlike London sorcerer. It opened in November 1877 together with, a curtain-raiser with music by Sullivan's assistant and words by, a friend of both Gilbert and Sullivan.

Instead of writing a piece for production by a theatre proprietor, as was usual in theatres, Gilbert, Sullivan and Carte produced the show with their own financial support. They were therefore able to select their own cast of performers, rather than being obliged to use the actors already engaged at the theatre. They chose talented actors, most of whom were not well-known stars and did not command high fees, and to whom they could teach a more style of performance than was commonly used at the time. Carte's talent agency provided many of the artists to perform in the new work. They then tailored their work to the particular abilities of these performers.

Some of the cast members, including principal comedian, and, stayed with the company for almost 15 years. Two other longstanding members of the company were, who started in D'Oyly Carte touring companies with The Sorcerer, and who joined the group for Pinafore at the Opera Comique in 1878.

As Grossmith wrote in 1888, 'We are all a very happy family.' Knowing that Gilbert and Sullivan shared his vision of broadening the audience for British light opera by increasing its quality and respectability, Carte gave Gilbert wider authority as a director than was customary among Victorian producers, and Gilbert tightly controlled all aspects of production, including staging, design and movement. Gilbert hired the ballet-master to choreograph most of the Savoy operas. The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as the critic wrote: 'we secretly marvelled at the naturalness and ease with which [the Gilbertian quips and absurdities] were said and done.

For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings. [They] conjured into existence a hitherto unknown comic world of sheer delight.' The Sorcerer ran for 178 performances, a healthy run at the time, making a profit, and Carte sent out a touring company in March 1878. Sheet music from the show sold well, and played the melodies. The success of The Sorcerer showed Carte, Gilbert and Sullivan that there was a future in family-friendly English comic opera. Pinafore to Patience [ ].

Scene from 1886 The next Gilbert and Sullivan collaboration, opened in May 1878. The opera's initial slow business was generally ascribed to a heat wave that made the stuffy Opera Comique particularly uncomfortable. Carte's partners in the Comedy Opera Company lost confidence in the show and posted closing notices. After Carte made promotional efforts and Sullivan included some of the Pinafore music in several promenade concerts that he conducted at, Pinafore became a hit.

The Opera Comique was required to close at Christmas 1878 for repairs to drainage and sewage under the Public Health Act of 1875. Carte used the enforced closure of the theatre to invoke a contract clause reverting the rights of Pinafore and Sorcerer to Gilbert and Sullivan after the initial run of H.M.S.

Carte then took a six-month personal lease on the theatre beginning on 1 February 1879. Carte persuaded Gilbert and Sullivan that when their original agreement with the Comedy Opera Company expired in July 1879, a business partnership among the three of them would be to their advantage. The three each put up £1,000 and formed a new partnership under the name 'Mr Richard D'Oyly Carte's Opera Company'. Under the partnership agreement, once the expenses of mounting the productions had been deducted, each of the three men was entitled to one third of the profits. On 31 July 1879, the last day of their agreement with Gilbert and Sullivan, the directors of the Comedy Opera Company attempted to repossess the set by force during a performance, causing a celebrated fracas. Carte's stagehands managed to ward off their backstage attackers and protect the scenery. The Comedy Opera Company opened a rival production of H.M.S.

Pinafore in London, but it was not as popular as the D'Oyly Carte production, and soon closed. Legal action over the ownership of the rights ended in victory for Carte, Gilbert and Sullivan. From 1 August 1879, the company, later called the D'Oyly Carte Opera Company, became the sole authorised producer of the works of Gilbert and Sullivan.

Pinafore became so successful that the piano score sold 10,000 copies, and Carte soon sent two additional companies out to tour in the provinces. The opera ran for 571 performances in London, the second longest run in musical theatre history up to that time. Over 150 unauthorised productions sprang up in America alone, but because American law then offered no protection to foreigners, Gilbert, Sullivan and Carte had no way to prevent them. To try to make some money from the popularity of their opera in America, Carte travelled to New York with Gilbert, Sullivan and the company to present an 'authentic' production of Pinafore on Broadway, beginning in December 1879, also mounting American tours.

Beginning with Pinafore, Carte licensed the company to produce the works in Australia and New Zealand. 1881 theatre programme for Patience In an effort to head off unauthorised American productions of their next opera, Carte and his partners opened it in New York on 31 December 1879, prior to its 1880 London premiere. Pirates was the only opera to have its official premiere in America. Carte and his partners hoped to forestall further 'piracy' by establishing the authorised production and tours in America before others could copy it and by delaying publication of the score and libretto. They did succeed in keeping for themselves the direct profits of the venture, but they tried without success for many years to control the American performance copyrights over their operas.

Pirates was an immediate hit in New York, and later London, becoming one of the most popular Gilbert and Sullivan operas. To secure the British copyright, there was a perfunctory performance the afternoon before the New York premiere, at the Royal Bijou Theatre, organised by Helen Lenoir. The next Gilbert and Sullivan opera, opened at the Opera Comique in April 1881 and was another big success, becoming the second longest-running piece in the series and enjoying numerous foreign productions. Patience satirised the self-indulgent of the 1870s and '80s in England, part of the 19th-century European movement that emphasised values over moral or social themes in literature, the, and interior design. From the beginning, the D'Oyly Carte Opera Company established strict rules for its actors and actresses, to avoid any hint of scandal such as performers were accused of in other companies. As Jessie Bond described in her autobiography: No lingering about was allowed, no gossiping with the other actors; the women’s dressing-rooms were on one side of the stage, the men's on the other, and when we were not actually playing we had to mount at once our respective narrow staircases – sheep rigorously separated from the goats!

Once, when my mother came to see me in London, expecting to find me dwelling in haunts of gilded luxury, and far down the road to perdition, I took her behind the scenes and showed her the arrangements for the actors and actresses, conventual in their austerity. I think there never was a theatre run on lines of such strict propriety; no breath of scandal ever touched it in all the twenty years of my experience.

Sonicwall Registration Code Keygen Music. Gilbert would suffer no loose word or gesture either behind the stage or on it, and watched over us young women like a dragon. Lithograph from The Mikado During this conflict and others during the 1880s, Carte and Helen Lenoir frequently had to smooth over the partners' differences with a mixture of friendship and business acumen.

Sullivan asked to be released from the partnership on several occasions. Nevertheless, they coaxed eight comic operas out of Gilbert and Sullivan in the 1880s. When Princess Ida closed after a comparatively short run of nine months, for the first time in the partnership's history, the next opera was not ready.

To make matters worse, Gilbert suggested a plot in which people fell in love against their wills after taking a magic lozenge – a scenario that Sullivan had previously rejected, and he now rejected the 'lozenge plot' again. Gilbert eventually came up with a new idea and began work in May 1884. The company produced the first revival of The Sorcerer, together with Trial by Jury, and matinees of The Pirates of Penzance played by a cast of children, while waiting for the new work to be completed. This became the partnership's most successful opera, which opened in March 1885. The piece satirised British institutions by setting them in a fictional Japan. At the same time, it took advantage of the Victorian craze for the exotic Far East using the 'picturesque' scenery and costumes of Japan. The Mikado became the partnership's longest-running hit, enjoying 672 performances at the Savoy Theatre, the second longest run for any work of musical theatre up to that time, and it was extraordinarily popular in the U.S.

And worldwide. It remains the most frequently performed Savoy opera. Beginning with The Mikado, the designer of the sets for 's spectacular productions at the, designed all of the D'Oyly Carte sets until 1893.

The partnership's next opera was, which opened in January 1887. It satirised and used elements of Victorian stock.

The piece, though profitable, was a relative disappointment after the extraordinary success of The Mikado. When Ruddigore closed after a run of only nine months, the company mounted revivals of earlier Gilbert and Sullivan operas for almost a year. After another attempt by Gilbert to persuade Sullivan to set a 'lozenge plot', Gilbert met his collaborator half way by writing a serio-comic plot for, which premiered in October 1888.

The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a 'dramatic work on a larger musical scale'. Gilbert declined, but offered a compromise that Sullivan ultimately accepted: The two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera ( ) for a new theatre that Carte was constructing to present British grand opera. The new comic opera was, which opened in December 1889 and became one of the partnership's greatest successes. After Carte's first wife died in 1885, Carte married Helen Lenoir in 1888, who was, by this time, nearly as important in managing the company as Carte himself. During these years, the company's high production values, and the quality of the operas, created a national and international taste for them, and the company mounted touring productions throughout the provinces, in America (generally managed by Helen), Europe and elsewhere. Honoured the company by calling for a of The Gondoliers at in 1891., writing in The World in October 1893, commented, 'Those who are old enough to compare the Savoy performances with those of the dark ages, taking into account the pictorial treatment of the fabrics and colours on the stage, the cultivation and intelligence of the choristers, the quality of the orchestra, and the degree of artistic good breeding, so to speak, expected from the principals, best know how great an advance has been made by Mr.

D'Oyly Carte.' The Carpet Quarrel and the end of the partnership [ ] On 22 April 1890, during the run of The Gondoliers, Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert confronted Carte, and Carte refused to reconsider the accounts: Even though the amount of the charge was not great, Gilbert felt it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert wrote in a letter to Sullivan that 'I left him with the remark that it was a mistake to kick down the ladder by which he had risen'. Helen Carte wrote that Gilbert had addressed Carte 'in a way that I should not have thought you would have used to an offending menial.' Gilbert brought a lawsuit, but Sullivan sided with Carte, who was building the, the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the suit, but the partnership disbanded.

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Sullivan's opera, had a successful run, but no other operas shared Carte's new opera house, and so the theatre soon failed. Carte sold the opera house, and it eventually became the. After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy.

The D'Oyly Carte company turned to new writing teams for the Savoy, first producing, by, and, which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and 's, which played through the summer of 1892. Grundy and Sullivan's then held the stage until April 1893. While the company presented new pieces and revivals at the Savoy, Carte's touring companies continued to play throughout Britain and in America. In 1894, for example, Carte had four companies touring Britain and one playing in America.

Comforts after failure of. Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte, but the partnership had been so profitable that the Cartes eventually sought to reunite Gilbert and Sullivan. The reconciliation finally came through the efforts of, who published the sheet music to the Savoy operas. In 1893, the company produced the penultimate Gilbert and Sullivan collaboration,. While Utopia was being prepared, the company produced, by and, with music. Despite the popularity of Barrie and Conan Doyle, the show was a flop, closing in July 1893 after only 51 performances.

Utopia was the Savoy's most expensive production to date, but it ran for a comparatively disappointing 245 performances, until June 1894, turning a very modest profit. The company then played first, composed by, then, by and Sullivan.

These ran for 102 and 97 performances, respectively. After The Chieftain closed, the company toured the London suburbs, while Carte leased the Savoy Theatre to the. The theatre was dark during the summer of 1895, reopening in November for a revival of. This was followed by, in 1896, which ran for 123 performances and was Gilbert and Sullivan's only financial failure. The Gondoliers turned out to be Gilbert and Sullivan's last big hit, and after The Grand Duke, the two men never collaborated again.

In 1894, Carte had hired his son, as an assistant. Rupert assisted Mrs. Carte and with the first revival of at the Savoy in May 1897.

Throughout the later 1890s, Carte's health was declining, and Mrs. Carte assumed more and more of the responsibilities of running the opera company. She profitably managed the theatre and the provincial touring companies. The Savoy's shows during this period received comparatively short runs, including (1897), (1897), (1898) and (1899), as well as revivals of the Gilbert and Sullivan operas. Sullivan's The Beauty Stone ran for only 50 performances. In 1899, the Savoy finally had a new success, with Sullivan and 's, which ran for 213 performances.

Neither Carte nor Sullivan lived to see the production of Sullivan and Hood's (1901), for which completed the score. Early 20th century [ ] Carte left his theatre, opera company and hotels to his wife, who assumed full control of the family businesses. Her London and touring companies continued to present the Savoy operas in Britain and overseas. She leased the Savoy Theatre to in 1901 and oversaw his management of the company's revival of Iolanthe and the production of several new comic operas, including (1901), (1902) and (with music by, libretto by ), which ran for four months in early 1903 and then toured. When A Princess of Kensington closed at the Savoy, Mrs. Carte leased the theatre to other managements until 8 December 1906.

The company's fortunes declined for a time, and by 1904 there was only a single touring company wending its way through the British provinces, when it took a seven-month South African tour. In 1906–07, Mrs. Carte staged a repertory season at the Savoy Theatre, with Gilbert returning to direct. The season, which included Yeomen, The Gondoliers, Patience and Iolanthe, was a sensation and led to another in 1908–09 including The Mikado, Pinafore, Iolanthe, Pirates, The Gondoliers and Yeomen. Afterwards, however, Mrs. Carte's health prevented her from staging more London seasons. She retired and leased the theatre to, and the company did not perform in London again until 1919, although it continued to tour throughout Britain.

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After Gilbert's death in 1911, the company continued to produce productions of the operas in repertory until 1982. In 1911, Helen Carte hired as stage manager. Din Next Pro Condensed Medium Download Movies. Gordon, who was promoted to stage director in 1922, had been a member of the company and a stage manager under Gilbert's direction, and he fiercely preserved the company's performing traditions in exacting detail for 28 years. Except for, which underwent some cuts and received a new overture, very few changes were made to the text and music of the operas as Gilbert and Sullivan had produced them, and the company stayed true to Gilbert's period settings. Even after Gordon's death, many of Gilbert's directorial concepts survived, both in the stage directions printed in the libretti and as preserved in company prompt books.

Original choreography was also maintained. Some of the company's staging became accepted as traditional by Gilbert and Sullivan fans, and many of these traditional stagings are still imitated today in productions by both amateur and professional companies. Died in 1913, and Carte's son inherited the company. During World War I, he was away serving in the. According to H. Walbrook, 'Through the years of the Great War [the company] continued to be on tour through the country, drawing large and grateful audiences everywhere.

They helped to sustain the spirits of the people during that stern period, and by so doing they helped to win the victory.' The company also toured in North America several times, beginning with a Canadian tour in 1927.

Rupert D'Oyly Carte found the company's productions increasingly 'dowdy', however, and on his return from the war, he determined to refresh them, bringing in new designers including W. Bridges-Adams for the sets, and, for the costumes, and. He also commissioned new costumes from who had worked with Gilbert and Richard D'Oyly Carte on the original productions of the later Savoy operas. Redesigned sets and costumes for (1926) and (1929).

His costumes for The Mikado were retained by all subsequent designers until 1982. In an interview in in August 1919, Carte set out his policy for staging the operas: 'They will be played precisely in their original form, without any alteration to the words, or any attempt to bring them up to date.' This uncompromising declaration was modified in a later interview in which he said, 'the plays are all being restaged. Gilbert's words will be unaltered, though there will be some freshness in the method of rendering them. Artists must have scope for their individuality, and new singers cannot be tied down to imitate slavishly those who made successes in the old days.' Cover, 1919–20 season The main company made a triumphant return to London for the 1919–20 season at the, playing most of the Gilbert and Sullivan operas in repertory and showing off the new sets and costumes.

The success of this season led to additional London seasons in 1919–20, 1921–22, 1924, and 1926; the company toured the rest of the year. Carte's first London season stimulated renewed interest in the operas, and by 1920 he had established a second, smaller company to tour smaller towns. It was disbanded in 1927, although the company often ran multiple tours simultaneously. For London seasons, Carte engaged guest conductors, first, then, who examined Sullivan's manuscript scores and purged the orchestral parts of accretions. So striking was the orchestral sound produced by Sargent that the press thought he had retouched the scores, and Carte had the pleasant duty of correcting their error. In a letter to, he noted that 'the details of the orchestration sounded so fresh that some of the critics thought them actually new.

The opera was played last night exactly as written by Sullivan.' Carte also hired, who started with the touring company, then was Toye's assistant before becoming musical director.

Singing the from the company's 1929 recording of Pirates, conducted by Problems playing this file? In 1917, the company made the first complete recording of a Gilbert and Sullivan opera, for the (later known as ). Rupert D'Oyly Carte supervised the company's recordings, including eight more acoustic recordings by 1924, and a series of complete electrical recordings in the late 1920s and early 1930s. There were additional recordings, in high fidelity, for, in the late 1940s and early 1950s and stereo recordings in the late 1950s and early 1960s, all supervised after Rupert's death by his daughter,. The new Savoy Theatre [ ]. 's 1926 Mikado design Rupert died in 1948, leaving a strong company to his daughter. She soon hired as general manager.

Bridget and Lloyd also took steps to keep the productions fresh, engaging designers to redesign the costumes and scenery. Peter Goffin, who had redesigned Yeomen (1939) and Ruddigore (1948) for the company, created new settings and costumes for Bridget for half a dozen more productions: (1952; settings only, most of the celebrated costumes being retained), (1957), (1958), (1959), (1961; ladies' costumes) and (1961). A new production of in 1954 was designed by James Wade., however, was an example of one of the company's stage directors (from 1949 to 1953) who was said to be reluctant to update and freshen stagings. In 1957, Goffin designed a unit set for the company to facilitate touring, reducing the number of vans required to carry the scenery from twenty to nine. A 1957 review of Yeomen in The Times praised the production and marvelled at 'the continued vitality of the Savoy operas', noting: 'The opera remains enchanting; the singing seems, on the whole, better and more musical than that which one used to hear, say, 30 years since; and though the acting lacks some of the richly crusted performances of those days, it is perhaps none the worse for that'. In 1949, the company began a new series of recordings with Decca, featuring Green, who had returned to the company after the war, and continued the series with his successor,.

The company cooperated with the production of the 1953 film, which used some former members of the company in the cast. In 1955, the company gave a seven-month tour to the U.S. To celebrate the 75th anniversary of its first American productions.

In 1959, the company began the tradition of holding a zany 'last night' on the last evening of each London season. Later years and closing [ ] With the approaching end of the D'Oyly Carte monopoly on performances, when the copyright on Gilbert's words expired in 1961 (Sullivan’s music had already come out of copyright at the end of 1950), Bridget D'Oyly Carte contributed the company and all its assets to an independent charitable trust.

She endowed the trust with the company's scenery, costumes, band parts and other assets, together with a cash endowment, and supervised the production of operas on behalf of the trust until economic necessity forced the closure of the company in 1982. As it turned out, competing professional productions of Gilbert and Sullivan did not harm the company. Beginning in 1960, the company re-recorded all of the operas with Pratt's successor, and also recorded a number of other Sullivan pieces. It made a in 1966, and recorded for television broadcast its productions of Patience (1965) and H.M.S. Pinafore (1973). It also supplied the soundtrack for a cartoon film of Ruddigore (1967).

During the 1960s, the company gave five North American tours. A new stage director, was hired in 1969, staying until 1978. In March and April 1975, after the regular London season at Sadler's Wells, the company moved to the Savoy Theatre for a fortnight's centennial performances, beginning on 25 March, the 100th anniversary of the first performance of Trial by Jury. All thirteen surviving Gilbert and Sullivan operas were performed in chronological order. Trial by Jury was given four times, as a curtain raiser to The Sorcerer, Pinafore and Pirates and as an afterpiece following The Grand Duke. Before the first of the four performances of Trial, a specially written curtain raiser by, called Dramatic Licence, was played by Peter Pratt as, as Gilbert and as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial in 1875; afterwards, the prime minister, and Bridget D'Oyly Carte each gave a short speech.

A highlight of the season was a new staging of Utopia Limited (later given again at the ), its first revival by the company. The Grand Duke was given as a concert performance, with narration by the presenter., who was at the company's musical helm from 1971 to 1979, conducted most of the performances, with ( Pinafore) and ( Pirates and Mikado) as guest conductors. Princes Philip and Andrew saw The Gondoliers. In the final performance of Trial by Jury, the regular D'Oyly Carte chorus was augmented by fourteen former stars of the company:, Elizabeth Nickell-Lean, Cynthia Morey, Alan Barrett, Mary Sansom, and Gillian Humphreys. In 1977, during 's Jubilee Year, the company gave a of Pinafore.

The company visited Denmark in 1970, Rome in 1974, and gave its last American tours in 1976 and 1978. Its last tour, in, conducted by the company's new musical director, Fraser Goulding, was a success in 1979. Throughout the 20th century, until 1982, the company toured, on average, for 35 weeks per year (in addition to its 13-week London seasons), fostering a 'strong family atmosphere, reinforced by the number of marriages in the company and the fact that so many people stayed with it for so long.' Principal soprano married the company's principal flautist, Andrew March.

She explained, 'people didn't have flats or houses. Touring was your life.'

Throughout its history, the company maintained strict moral standards, and it was sometimes referred to as the 'Savoy boarding school', enforcing policies regarding behaviour on and off stage, and even a dress code. Soprano Cynthia Morey ascribed the strong affection that artists had for the company to 'the unique family atmosphere engendered by the company's direct descent from its creators, Gilbert, Sullivan. Richard D'Oyly Carte, followed by his widow, Helen, his son Rupert, and finally his granddaughter Bridget.' The company also preserved, for over a century, what The Times called a 'unique performance style, which may be summarised as a combination of good taste and good fun'.

Planter in front of the honouring the Carte family and colleagues After the 1979 tour, the rising costs of mounting year-round professional light opera without any government support, despite some generous private contributions, caused the company to accrue increasing losses. In 1980, the 's Music Panel and Touring Committee recommended that the Arts Council make a grant to the company, but this idea was rejected. The company's fans made an effort to raise private funds, but these were insufficient to make up the accelerating losses. In 1981, producer George Walker proposed to film the company performing all of the Gilbert and Sullivan operas but backed out. Bridget D'Oyly Carte was forced to close the company in 1982, after a final London season in which John Reed and returned as guest artists.

It gave its last performance on 27 February 1982, at the. A three-LP recording of this performance was released, which included songs from all of the Gilbert and Sullivan operas. The company had operated nearly continuously for 107 years since the opening of Trial by Jury in 1875. Even after it closed, however, the company's productions continued to influence the productions of other companies.

Revivals of the company [ ] Dame Bridget D’Oyly Carte died in 1985, leaving in her will a £1 million legacy to enable the company to be revived. The company secured sponsorship from, who later became chairman of the board of trustees, the City Council and British Midland Airways (of which Bishop is chairman).

Was appointed the revived company's first general manager, and was its first musical director. In succeeding seasons, the company's productions of The Mikado and H.M.S. Pinafore were nominated for. From 1988 to 2003, the company mounted productions of the Gilbert and Sullivan operas on tour and in London, and it produced several operettas by, and. Unlike the original company, which had regularly performed up to a dozen operas each year, 48 weeks a year, the new company generally presented only one or two operas in shorter seasons. In the first season, in 1988, the operas played were Iolanthe and The Yeomen of the Guard, both starring.

The company made its debut at the on 29 April 1988, and, after touring, opened in London at the in July. The press notices were good, particularly about the musical aspects of the new company; opinion was divided about the staging. The Observer thought the productions 'miles superior to the later work of the old D'Oyly Carte; better designed, better lit. Better played and better sung.' A review in The Guardian praised the musical standards, but added, 'Gilbert and Sullivan is as much theatrical as musical entertainment and there remains a lot to be done on the visual side.' The two operas presented in 1989 were The Mikado and The Pirates of Penzance. The new company's first three productions were broadly traditional in their staging.

The Pirates, however, marked a break with traditional presentations, with the setting a giant toy-box and a collapsible toy boat. In 1990 the company presented campier versions of Pinafore and Trial (including a heavily pregnant Angelina) that were much criticised by the old company's fans, who complained that it was a betrayal of the legacy left by Bridget D'Oyly Carte.

The next season departed further from earnest presentations in its production of The Gondoliers, which included a deeply corrugated stage floor, 'startling', 'surreal, primary coloured, starkly angled sets', gimmicky distracting business and generally staging that was considered 'way over the top'. It 'was unveiled to storms of outraged booing'.

Most of the critics shared the public's disapproval of the production. The Times wrote, 'The satiric point disappears in meretricious ado and humourless humour'. Some critics, however, thought that it was time to sweep away 'bad and lazy' traditions of the old company, calling the production 'riotous, zany and subversive. With a or sense of slapstick comedy', noting that 'The girls are pretty and the boys are handsome, and they sing and dance with a youthful freshness'. Also in 1991, the company accepted an offer from the Alexandra Theatre, to make its base there, although its pattern of spring national tours and summer London seasons was not affected.

Another initiative was to stage a foreign operetta for the first time since Richard D'Oyly Carte's day, in what would be D'Oyly Carte's first co-production. The work chosen was, which presented in 1992 and D'Oyly Carte toured in 1993 as part of its 35-week tour celebrating the 150th anniversary of Sullivan's birth.

The innovation was welcomed, receiving an Arts Council Grant, and the company later presented (1994), (1995) and (1997). Of the Savoy operas, the new company never staged The Sorcerer, Patience, Princess Ida, Ruddigore, Utopia and The Grand Duke, stating that they lacked box-office potential. Unlike its predecessor, the new company was not a permanent ensemble with a recognisable style. Some performers appeared in several productions, but each production was cast anew, often with guest stars from British television in leading roles, with varying degrees of success. The chorus and orchestra of the new company were much smaller than those of the old company: the chorus was reduced from 32 (or more) to 20, and the orchestra from 38 generally to 24. For a 1998 production of Pirates at the, the orchestra was even smaller: The Guardian wrote, 'The goings-on in the pit are dispiriting. Budgetary constraints have forced the company to re-write the score for a band of nine instrumentalists.

They play well enough, but every one of Sullivan's parodies loses its clout.' The company received a modest Arts Council grant in 1997 to keep it afloat and turned to private funding from for London seasons beginning in 1998. Despite the lean forces, the company received generally favourable reviews over the next five years under the management of Ian Martin.

Although the new company's productions met with mixed reviews, some of its recordings have been well received. Many of these recordings also restore music that had been cut by Gilbert and Sullivan or the company over the years. Gubbay felt over-committed by 2003 and pulled out.

After fifteen years, with no Arts Council funding forthcoming, the company suspended productions in May 2003. From May to July 2013, produced a British touring production of The Pirates of Penzance in partnership with the D'Oyly Carte Opera Company, although it was not reported what role the latter company took in the producing team. Played Major-General Stanley and played Frederic.

The Daily Telegraph, The Guardian and The Times each gave the production three out of five stars. The company is co-producing The Mikado with Scottish Opera on tour in May to July 2016, directed by and starring Suart, Sharatt, and Rebecca Bottone. Principal performers [ ].

As Bunthorne in Gilbert and Sullivan aficionados frequently use the names of the principal comedians of the D'Oyly Carte Opera Company to refer to time periods of the company's history. Thus, after the sudden death of Sullivan's brother Fred, who had created the role of the Learned Judge in in 1875, the unknown was recruited in 1877. Before Grossmith left the company in 1889, he created the principal comic roles in nine of the operas, and so the principal comedian parts in the operas are often referred to as the 'Grossmith' roles. Other performers who created a long series of roles in the original productions of the operas included, and.

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In the original New York City productions and British touring productions, soprano, baritone, comic and bass-baritone became particularly well known. As Rudolph in After Grossmith left the company, the most notable players of his roles during the rest of Gilbert's lifetime were (principal comedian from 1894 to 1903) and, who played the roles on tour with the company from 1897 and took over as principal comedian at the Savoy between 1906 and 1909. Both of these performers made recordings of songs from the.

During the Passmore era, principal players of the company included Brandram and Barrington, as well as tenor, soprano, sopranos and, tenor and his sister, mezzo-soprano. During Workman's tenure, principal players included contralto, soprano, and a young. No complete recordings of the operas were made that included active members of the Company until the 1920s. Workman and W.

Gilbert quarrelled over their production of in 1909, and Gilbert banned Workman from appearing in his works in Britain. It is likely that, otherwise, Workman would have continued as principal comedian of the company. Indeed, wrote to Workman in 1919 asking him to return to the company as principal comedian, but Workman declined. From 1909 to 1934, the principal comedian was Henry Lytton, who had been playing a variety of roles with the company steadily since 1887. He received a knighthood for his performances during his long tenure with the company. Lytton's voice deteriorated during his later career, and when HMV embarked on a series of complete recordings of the operas after World War I, Lytton was not invited to record most of his roles.

Instead, the concert singer was brought in to substitute. Other performers from this period include mezzo-soprano, bass-baritone, who is estimated to have portrayed the Mikado of Japan more than 3,000 times, contralto, tenor, soprano and baritones Leo Sheffield and. 1901 Lytton was succeeded in 1934 by, who played the principal comic parts until 1951, except for a gap from the end of 1939 to 1946, when replaced him. Green's time with the company is remembered for the early Decca recordings of the operas. During Green's tenure, in addition to the long-serving Fancourt, principal players included baritone, soprano, mezzo-soprano, baritone and contralto. Green was followed.

He left the company in 1959, after more than eight years as principal comedian, still only 36 years old. During Pratt's years, principals included bass-baritone, tenor (who later directed the productions), contralto and mezzo-soprano. Pratt's successor was, who served as principal comedian for two decades. Other stars from this era were, and, all of whom, except the last, left the company for the wider operatic stage of, and elsewhere. When Reed left the company in 1979, his understudy took over until the closure of the company in 1982. From 1988, the revived company used guest artists for each production.

The most regularly seen principal comedians were Eric Roberts and Richard Suart, both of whom regularly perform the 'Grossmith' roles for other opera companies. Others have included, and Simon Butteriss. References in popular culture [ ] In 1948, wrote a song called 'In the D'Oyly Cart', a satire of the company and the rote 'business' and gestures that it was accused of repeating. The song was first performed in the revue Oranges and Lemons (1948) and revived in Penny Plain (1951). It was broadcast in 1974 and included as the first track on the 1975 Flanders and Swann album, And Then We Wrote.

A one-act parody, called A 'G. Cocktail; or, A Mixed Savoy Grill, written by Lauri Wylie, with music by, premiered on 9 March 1925 at the as part of the Better Days. It was also broadcast by the BBC. It concerned a nightmare experienced by a D'Oyly Carte tenor.

The company is mentioned in the 1937 musical, with a score by and a book by and. The 1999 film, directed by, depicts Richard D'Oyly Carte, Gilbert and Sullivan, as well as many members of the D'Oyly Carte Opera Company in events leading up to and through the composition and production of The Mikado. The film was ranked on 's 2008 list of the 500 greatest movies of all time. A children's theatre company in London is called, a play on the name of the company.

See also [ ] • Notes [ ].