Editing Richard D'Oyly Carte (section)

===Theatrical beginnings===
Between 1868 and 1877, Carte wrote and published the music for several of his own songs and instrumental works,{{refn|Carte's [[Parlour song]]s include: "Come Back to Me", words by Carte;<ref name=e21m>"New Music", ''The Era'', 21 March 1869.</ref> "Diamond Eyes", words by L. H. F. du Terraux;<ref>"The Literary Examiner", ''The Examiner'', 13 August 1870</ref> "A Faded Flower", words by Desprez;<ref name=bl>[http://explore.bl.uk/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=local_tab&indx=1&dum=true&srt=rank&vid=BLVU1&frbg=&tb=t&vl%28freeText0%29=Richard+D%27Oyly+Carte&scp.scps=scope%3A%28BLCONTENT%29&vl%282084770704UI0%29=any&vl%282084770704UI0%29=title&vl%282084770704UI0%29=any "Richard D'Oyly Carte"] {{Webarchive|url=https://web.archive.org/web/20230418042039/https://explore.bl.uk/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=local_tab&indx=1&dum=true&srt=rank&vid=BLVU1&frbg=&tb=t&vl%28freeText0%29=Richard+D%27Oyly+Carte&scp.scps=scope%3A%28BLCONTENT%29&vl%282084770704UI0%29=any&vl%282084770704UI0%29=title&vl%282084770704UI0%29=any |date=18 April 2023 }}, British Library, accessed 15 January 2019</ref> "The Maiden's Watch", words by Amy Thornton;<ref name=bl/> "The Mountain Boy";<ref name=bl/> "Pourquoi?" Chansonette;<ref name=bl/> "Questions", words by Desprez;<ref name=bl/> "The Setting Sun" (with obbligato flute accompaniment);<ref name=bl/> "Stars of the Summer Night", words by [[Henry Wadsworth Longfellow]];<ref name=bl/> "Three Roses", words by [[Adelaide Anne Procter|Adelaide Procter]]; "Twilight", Canzonet; "Waiting", words by Procter;<ref name=derby>"New Music", ''[[Derby Mercury]]'', 28 April 1869</ref> "Wake, Sweet Bird" (with obbligato flute accompaniment);<ref name=mt69>''The Musical Times'', 1 April 1869, p. 57</ref> and "Why so pale and wan, fond lover".<ref>"Concert at Hanover-square Rooms", ''The Era'', 17 January 1869</ref> ''The Era'' said of the first of these, "Mr. D'Oyly Carte's music is a vast deal better than his words. The song ... musically speaking, is a creditable production."<ref name=e21m/> A review of "Waiting" found it "quite above the average of songs, both as to words and music. Miss Procter's pathetic stanzas are set to strikingly original music".<ref name=derby/>|group= n}} as well as three short comic operas: ''Doctor Ambrosias – His Secret'' (1868),{{refn|Libretto adapted from ''Tom Noddy's Secret'', a one-act farce (1800) by [[Thomas Haynes Bayly]]. First performed at [[St. George's Hall, London|St George's Hall]] (1868).<ref>"Music and Musicians", ''The Daily News'', 12 April 1895; and [http://explore.bl.uk/primo_library/libweb/action/display.do?tabs=moreTab&ct=display&fn=search&doc=BLL01016212542&indx=1&recIds=BLL01016212542&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%28BLCONTENT%29&vl(2084770704UI0)=any&tb=t&vid=BLVU1&mode=Basic&srt=rank&tab=local_tab&dum=true&vl(freeText0)=Dr.%20Ambrosias%2C%20his%20secret&dstmp=1547543062869 "Dr Ambrosias – His Secret"] {{Webarchive|url=https://web.archive.org/web/20230418215309/https://explore.bl.uk/primo_library/libweb/action/display.do?tabs=moreTab&ct=display&fn=search&doc=BLL01016212542&indx=1&recIds=BLL01016212542&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope:(BLCONTENT)&vl(2084770704UI0)=any&tb=t&vid=BLVU1&mode=Basic&srt=rank&tab=local_tab&dum=true&vl(freeText0)=Dr.%20Ambrosias,%20his%20secret&dstmp=1547543062869 |date=18 April 2023 }}, British Library catalogue, accessed 15 January 2019</ref>|group= n}} ''Marie'' (1871),{{refn|Librettist Edward Spencer Mott. First performed at the [[Opera Comique]], London on 26 August 1871;<ref>"Opera Comique (Last Night)", ''The Era'', 27 August 1871, p. 13</ref><ref name=Ainger92>Ainger, p. 92</ref>|group= n}} and ''Happy Hampstead'' (1876).{{refn|Libretto by [[Frank Desprez]]; Carte used the pen name Mark Lynne.<ref>Seeley, p. 40</ref> ''Happy Hampstead'' was first performed on a provincial tour and then played at the [[Royalty Theatre]] in 1877.<ref name=Burgess/>|group= n}} On tour in 1871 he conducted ''[[Cox and Box]]'' by [[Arthur Sullivan]] and [[F. C. Burnand]], in tandem with English adaptations of two one-act pieces by Offenbach, ''[[La rose de Saint-Flour|The Rose of Auvergne]]'' and ''[[Le violoneux|Breaking the Spell]]'', in which Carte's client [[Selina Dolaro]] starred.<ref name=lm>"Theatres", ''Liverpool Mercury'', 5 September 1871, p. 1.</ref>{{refn|The composer's brother, [[Fred Sullivan]], managed the tour and played Cox; [[Richard Temple (opera singer)|Richard Temple]] played Bouncer, in ''Cox and Box''.<ref name=lm/>|group= n}} Carte's musical talent would be helpful later in his career, as he was able to audition singers himself from the piano.<ref>Stedman, p. 170</ref>

During the late 1860s and early 1870s, from within his father's firm in Charing Cross<ref>Classified advertisement in ''The Era'', 20 November 1870, p. 7</ref> and, by late 1874, from a nearby address in Craig's Court,<ref>Classified advertisement in ''The Era'', 27 December 1874, p. 1</ref> Carte began to build an operatic, concert and lecture management agency.<ref name=Joseph8/><ref name=Ainger92/> His two hundred clients eventually included [[Charles Gounod]], [[Jacques Offenbach]], [[Adelina Patti]], [[Giovanni Matteo Mario|Mario]], [[Clara Schumann]], [[Antoinette Sterling]], [[Edward Lloyd (singer)|Edward Lloyd]], [[Thomas German Reed|Mr. and Mrs. German Reed]], [[George Grossmith]], [[Matthew Arnold]], [[James McNeill Whistler]] and [[Oscar Wilde]].<ref>Ainger, p. 130</ref> [[Hesketh Pearson]] said of Carte: "His acute business sense was aided by a frank and agreeable manner: he could not only see where money was to be made but how to make it. He took what other people thought were risks, but he felt were certainties. ...  He knew everyone worth knowing ... and his practical judgement was as sure as his sense of artistry."<ref>Pearson, p. 87</ref>