Savoyards Ithaca - Cornell Savoyards

Savoyards Ithaca - Cornell Savoyards The Cornell Savoyards (Ithaca, NY) have been producing Gilbert and Sullivan operettas since 1953. Please consider supporting us today! Box 742, Ithaca, NY 14851.

They delight in exposing modern audiences to the wonderful wit and music of G&S. They also produce light opera, Broadway musicals, revues and sing-a-longs. Savoyards Ithaca, founded as the Cornell Savoyards, have been producing Gilbert and Sullivan operettas since 1953. They delight in exposing modern audiences to the wonderful wit and music of Gilbert and Sullivan. The Savoyards produce G & S alo

ng with other light opera, Broadway musicals, revues, and sing-a-longs. They have a colorful history of Ithaca area productions, and for the past 7 years, have been guests of the Cornell Summer Concert Series. The group welcomes all people interested in every aspect of music and theater and is made-up of Ithaca community members, students and staff members of both Cornell University and Ithaca College. We are always looking for new performers, producers, and backstage/technical help! The group survives through donations, grants, and ticket sales. Contact us via Facebook, at [email protected], or P.O.

02/19/2026
02/19/2026

She looked at history books that erased half of humanity—and said "This is garbage." Then she created an entire academic field to prove it.
1950s. New York City. A university classroom.
Gerda Lerner sat listening to her history professor lecture about great men, important battles, significant political movements—all accomplished by men. Always men.
The textbooks were the same. The curriculum was the same. History, as taught in universities, was the story of what men did while women apparently did nothing.
Lerner looked around the classroom. Half the students were women. Half the people who'd ever lived were women. Half of humanity.
And they were completely absent from the history being taught.
"In my courses," she later recalled, "the teachers told me about a world in which ostensibly one-half the human race is doing everything significant and the other half doesn't exist. I asked myself how this checked against my own life experience."
Her conclusion?
"This is garbage; this is not the world in which I have lived."
That realization—that fury at the erasure of women from history—led Gerda Lerner to create an entirely new academic field.
She invented women's history.
Let me tell you how a refugee from N**i Austria became the scholar who proved that women's stories matter and deserve rigorous academic study.
Gerda Lerner was born Gerda Kronstein in 1920 in Vienna, Austria, into a Jewish family. She grew up privileged and educated, expected to have a comfortable European life.
Then the N**is came.
In 1938, Germany annexed Austria in what's known as the Anschluss. Overnight, Austria's Jews went from citizens to targets. N**i laws stripped them of rights. Violence erupted in the streets. Jewish businesses were destroyed.
Gerda's father learned the Gestapo was planning to arrest him.
Gerda and her mother were arrested first.
They were held by the Gestapo for several weeks. Interrogated. Threatened. The N**is apparently never discovered that Gerda had been involved in the anti-N**i resistance—working to help Jews and political dissidents escape.
If they had found out, she would have been sent to a concentration camp or executed.
Eventually, her father sold all his Austrian assets—his business, property, everything the family owned. The Gestapo took the money and released the family.
In 1939, at age 19, Gerda escaped to the United States with almost nothing. A refugee fleeing genocide.
She arrived in New York, learned English, worked odd jobs, married, raised children. And she kept thinking about history—about whose stories get told and whose get erased.
She'd lived through one of the most significant events of the 20th century. She'd been part of resistance movements. She'd witnessed the rise of fascism and fled for her life.
And yet, the history books focused only on the men—the soldiers, the politicians, the generals.
Where were the stories of mothers who hid children from the N**is? Of women who smuggled food to the ghettos? Of female resistance fighters?
Where were the women in history?
Gerda Lerner decided to find them.
In the 1950s, she went back to school—a married woman with children, which was unusual then. She earned her undergraduate degree, then enrolled in a Ph.D. program in history at Columbia University.
And in 1963, while still a Ph.D. student, Gerda Lerner taught the first women's history course in the world at the New School in New York City.
Think about that. The first women's history course. Ever.
Before 1963, there was no such thing as "women's history" as an academic subject. History departments didn't study women. They didn't think women's experiences were important enough to warrant scholarly attention.
Gerda Lerner said: that's garbage.
And she started proving it.
Her course explored women's roles in American history. Not just famous women, but ordinary women—how they worked, organized, resisted, contributed to society. She used primary sources: women's letters, diaries, organizational records.
She treated women's lives as worthy of serious historical scholarship.
The course was revolutionary. Students were electrified. They'd never seen themselves and their mothers and grandmothers reflected in history before.
Lerner kept pushing. In the early 1970s, while teaching at Sarah Lawrence College, she created the first graduate program in Women's History in the United States.
Not just a course. An entire graduate program dedicated to training scholars in women's history.
Then in 1980, she went further: she created the nation's first Ph.D. program in women's history at the University of Wisconsin-Madison.
She was building an entire academic field from scratch.
And she faced enormous resistance. Male historians dismissed women's history as trivial. University administrators questioned whether it was a legitimate area of study. Funding was difficult. Respect was hard to earn.
Lerner didn't care. She kept building.
She published groundbreaking books:

"The Grimké Sisters from South Carolina" (1967) - about abolitionist sisters
"Black Women in White America" (1972) - documenting African American women's history
"The Creation of Patriarchy" (1986) - analyzing the historical origins of women's oppression
"The Creation of Feminist Consciousness" (1993) - tracing women's intellectual history

Her scholarship was rigorous, methodical, undeniable. She proved that women's history wasn't just interesting—it was essential to understanding human history.
"You cannot understand human history," she argued, "if you only study half of humanity."
That seems obvious now. It wasn't obvious in 1963.
Lerner's work transformed how we study history. Before her, "history" meant men's political and military activities. After her, historians began studying:

Women's labor and economic contributions
Family structures and domestic life
Women's social movements and organizing
Gender roles and how they've changed
Women's intellectual and cultural work

Entire areas of historical scholarship that didn't exist before Gerda Lerner created them.
Alice Kessler-Harris, a history professor at Columbia, said it perfectly: "She made it happen. She established women's history as not just a valid but a central area of scholarship. If you look at any library today, you will see hundreds of books on the subject."
Hundreds of books. Entire library sections. Academic departments. Ph.D. programs. Scholarly journals. Conferences. Careers.
An entire field of study that exists because one woman said "this is garbage" and spent decades proving that women's stories matter.
Gerda Lerner didn't just write about women's history. She created the infrastructure for studying it.
She trained graduate students who became professors who trained more students. She helped establish professional organizations. She fought for women's history to be included in textbooks and curricula.
She made it impossible to ignore half of humanity anymore.
Think about what that means for you personally:
If you've ever read a history book that included women's experiences—thank Gerda Lerner.
If you've studied women's suffrage, women's labor movements, women's contributions to any field—thank Gerda Lerner.
If you believe women's stories deserve to be told and preserved—thank Gerda Lerner.
She created the academic legitimacy for all of it.
Gerda Lerner died on January 2, 2013, at age 92. She'd spent over 50 years building women's history from nothing into a central scholarly field.
She lived to see women's history courses taught in virtually every university. To see major historical sites dedicated to women's history. To see her students and their students become leading scholars.
She lived to see women's history become undeniable.
The trajectory of her life is extraordinary:
Born in privilege in Vienna. Fled the N**is as a refugee. Arrived in America with nothing. Raised children while earning degrees. Recognized that history erased women. Created an entire academic field to correct that erasure.
From refugee to revolutionary scholar.
And she did it all with that same clear-eyed assessment she'd made as a student: "This is garbage; this is not the world in which I have lived."
She refused to accept the erasure. And she spent her life making sure women's stories would never be erased again.
Born 1920 in Vienna. Escaped N**is in 1939. Taught first women's history course in 1963. Created first graduate program in 1970s. Created first Ph.D. program in 1980. Built an entire academic field that now includes hundreds of thousands of scholars and millions of students.
All because she looked at history that ignored half of humanity and said: "This is garbage."
In honor of Women's History Month, we celebrate Gerda Lerner—the woman who created women's history as an academic discipline.
The next time you read about women in history, remember it's because Gerda Lerner fought to make that scholarship possible.
The next time someone says women's contributions don't matter, remember that an entire academic field exists to prove them wrong.
And remember that it exists because one refugee scholar refused to accept that half of humanity could be erased from the historical record.
"This is garbage; this is not the world in which I have lived."
Thank you, Dr. Lerner, for refusing to accept the garbage. For creating the field. For making sure our stories get told.
Women's history exists because of you. And that matters to all of us.

02/19/2026

Dorothy Hamill and Scott Hamilton reunite in Milan. 🥇🥇🇺🇸

02/19/2026

Life's a Trip

Good idea
09/07/2025

Good idea

Savoyards Ithaca wishes our Facebook community a joyful Easter. Here is the glorious Final Chorus to Arthur Sullivan's o...
04/20/2025

Savoyards Ithaca wishes our Facebook community a joyful Easter. Here is the glorious Final Chorus to Arthur Sullivan's oratorio "The Light of the World" (1873).

Sir Arthur Sullivan (1842-1900)THE LIGHT OF THE WORLD (1873)Final Chorus: Him Hath God ExaltedKinder Children's Choir, choir conductor Joye EllisBBC Symphony...

Savoyards Ithaca's March 30 performance of Arthur Sullivan's "The Prodigal Son" was a success. Despite six other musical...
03/31/2025

Savoyards Ithaca's March 30 performance of Arthur Sullivan's "The Prodigal Son" was a success. Despite six other musical events here in Ithaca, people still attended our concert at the First Congregational Church of Ithaca. Some came from as far as Syracuse and Vestal but found the experience moving and rewarding.

The performance was followed by a reception for our singers. A decorated Easter cake from Wegmans was served. Not traditional Simnel cake but close enough. We celebrated our accomplishment and cherished each other's company.

None of this would have been possible without our Facebook community. Other musical companies, such Summer Savoyards, Inc. (Binghamton, NY) and Franklin Light Opera, helped to promote this production. We're also grateful to the following G&S scholars and performers, both in the UK and the US, who supported and encouraged us online and in person:

Julie Allison, Jennifer DeLapp-Birkett, Karen Wonder Dumont, Bruce Greengart, Nick Harmantzis, Jim Hedlund, Ellie Hobbie, Richard Holmes, Mark Lawrence, Hildy and Jim Mica, Nick Roscoe, Bill Snyder, Mark Saltzman, Anne Stanyon, and Mark Wilde.

Thank you all for a magical Sunday afternoon!

Savoyards Ithaca will perform Arthur Sullivan’s oratorio "The Prodigal Son" at 4:00 PM today the First Congregational Ch...
03/30/2025

Savoyards Ithaca will perform Arthur Sullivan’s oratorio "The Prodigal Son" at 4:00 PM today the First Congregational Church of Ithaca (FCCI): Admission is free but donations are welcome on-site or online at https://fccithaca.org.

Bill Cowdery, FCCI’s music director and organist, leads our four soloists: Andi Dietrich (soprano), Lisa Banlaki Frank (alto), Charles Burch (tenor), and Geof Royall (bass). The chorus (two dozen strong) includes other members of our Gilbert and Sullivan company as well as the church choir.

This special performance celebrates Laetare Sunday (the Fourth Sunday in Lent). As a plenary indulgence, our dramaturg sent us this photo of Simon De Vos's "The Return of the Prodigal Son" (1641). From heaven, a choir and orchestra of angels looks down and accompanies the Prodigal's story of grace and forgiveness.

This painting is an almost perfect allegory of today's concert. The only difference is that we will be accompanied by a piano and an organ. The singing will be heavenly all the same, so come and hear us this afternoon.

First Congregational Church of Ithaca is located at 309 Highland Road in Cayuga Heights. Ample parking is available. The building is also wheelchair-accessible. Enter through the main front entrance and use the simple lift.

Savoyards Ithaca tonight holds its final run-through of Arthur Sullivan's "The Prodigal Son." The performance is 4:00 PM...
03/29/2025

Savoyards Ithaca tonight holds its final run-through of Arthur Sullivan's "The Prodigal Son." The performance is 4:00 PM tomorrow, March 30 (Laetare Sunday) in the First Congregational Church of Ithaca, where our chorus has been rehearsing since early February.

Until recently, however, our four soloists, Andi Dietrich (soprano), Lisa Banlaki Frank (alto), Chuck Burch (tenor), and Geof Royall (bass), have been practicing on their own, so it has been a rewarding experience singing with them and hearing the entire oratorio come alive.

Perhaps our favorite passage is the a ca****la quartet ("The Lord is nigh"). You will love it, too. The gentle harmonies will fall on your ears like a shower of rose petals. As a preview of tomorrow's concert, we share a recording of this number. The lyrics are from the Book of Psalms and the Book of Isaiah:

"The Lord is nigh unto them that are of contrite heart, and will save such as be of an humble spirit. Thus saith the Lord, I have seen his ways, and will heal him: I will lead him also, and restore comforts unto him and to his mourners."

Provided to YouTube by Universal Music GroupSullivan: The Prodigal Son: No. 17, Quartet. The Lord Is Nigh · Catherine Denley · Claire Rutter · Garry Magee · ...

Savoyards Ithaca appreciates your encouragement and support as rehearsals continue for our March 30 performance of Arthu...
03/24/2025

Savoyards Ithaca appreciates your encouragement and support as rehearsals continue for our March 30 performance of Arthur Sullivan's "The Prodigal Son" at the First Congregational Church of Ithaca. Thanks to your help, we are slowly turning a sketch into a finished painting, as James Tissot does in these two version of "The Departure of the Prodigal Son" (1863).

This production is a departure for us, too. For 72 years, our company has performed light opera and musical theater, but we have never performed an oratorio before. The experience has been both challenging and rewarding. Fortunately, our dramaturg and musical director have guided us for the past four weeks.

"The Prodigal Son" isn't an opera, but it is certainly dramatic. Like a medieval mystery play, it alternates between psychomachia (the internal battle between virtue and vice within a protagonist) and choral interludes. The story’s action is interrupted by excerpts from the Old and New Testaments, selected by Sullivan himself.

These lyrical interludes comment on and heighten the drama but also serve a liturgical function. At least so it seems to our company. So many of our members serve as cantors and music ministers or sing in the choir at local Catholic and Protestant churches. All are preparing for Holy Week services, which begin on Sunday, April 13.

We are grateful to the First Congregational Church for allowing us to use its worship space for this production and for lending us its music director, Bill Cowdery, who has been a joy to work with. We are blessed indeed and pray that you will attend our performance at 4:00 PM Sunday, March 30.

Savoyards Ithaca continues to prepare for its March 30 performance of "The Prodigal Son" at the First Congregational Chu...
03/23/2025

Savoyards Ithaca continues to prepare for its March 30 performance of "The Prodigal Son" at the First Congregational Church of Ithaca. The concert is only a week from today, so our production team has finalized the copy and layout for the program.

This illustration, a popular Victorian print of the Prodigal Son by the Pre-Raphaelite painter John Everett Millais, probably inspired Arthur Sullivan to write an oratorio on this subject in 1869. It was part of famous series of etchings on the Parables of Jesus published in 1863 in "Good Words," a religious magazine for evangelicals and nonconformists but also read by Anglicans.

Sullivan, who serves as an organist at the fashionable St. Michael’s Church in London’s Chester Square, not far from Victoria Station, was familiar with this publication, but he also was drawn to Luke's story for personal reasons.

The young composer strongly identified with the main character. At the Royal Academy of Music, he had shirked his studies to go on sprees. Sullivan regretted how his conduct had hurt his father, a kind and indulgent bandmaster who had died three years earlier. He also feared squandering his talent the way that his grandfather, an Irish squire, had squandered his estate on riotous living.

These factors explain why Sullivan's first oratorio is also the most personal and most accessible of his sacred works. Rehearsing it has been a moving experience for our four soloists and 23 choristers. We hope that the same will be true for our audience.

Betsy, Kris, Scott,Doug and me (Wendy) joined up to sing The Prodigal Son, music by our favorite composer, Arthur Sulliv...
03/22/2025

Betsy, Kris, Scott,Doug and me (Wendy) joined up to sing The Prodigal Son, music by our favorite composer, Arthur Sullivan.

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