Was Sullivan concerned about the potential success of Princess Ida?
The short answer is: no. At least not that he records in his diary.
Princess Ida had a strangely elongated gestation period, compared to most of the other shows. On Feb. 8, 1883, Sullivan and Gilbert both agreed to a five-year contract with Carte to keep the Savoy running with new shows, as needed, but at that moment Iolanthe was still doing well so Ida had a more leisurely creation period than most. On that day Gilbert read “1st Act (or Prologue) of the “Princess”. That makes it clear that the piece was designed to have its unique three-act structure and dialogue in iambic pentameter from its inception. Sullivan records no opinions of the show, pro or con.
The year 1883 was a busy one for Sullivan. Despite the standard G&S lore that he had lost all his money the previous November, you would hardly suspect anything of that sort from reading his diary. He kept up an active social schedule, visiting many stately homes, and himself hosting several large dinner parties, including one, attended by the Prince of Wales, for which he had speakers installed in his home, into which he arranged for audio of the entire cast & orchestra of Iolanthe, performing at the Savoy Theater, to be transmitted electrically to the party. In 1883. He traveled–Paris, Carlsbad (3 weeks), Badenweiler (another week)–he was Knighted, he invested £2,154 (£334,698) in the Illinois Central (on the advice of Alfred Rothschild), he conducted the Leeds Music Festival, he gambled on cards and horses.
In March Gilbert gave Sullivan Act 2 of Ida. Sullivan records no comments on it. By April he’s sketching out some songs. No comments on any difficulties therein. In June his “doctor” in Carlsbad tells Sullivan he must stay there, drinking cups of their water, for at least four weeks, “and absolutely forbade me doing any headwork for a fortnight afterwards, as the waters have a great & marked influence on nerves & brain.” Sullivan calls this a “great inconvenience.”
But apparently he follows this advice, because it’s not until July 31 that the Princess Ida work continues. And here we get Sullivan’s most fulsome comments about the new opera:
Went through libretto of new piece (Princess) at night [with Gilbert] – made several alterations & modifications – 2nd Act in good order – only wants a song for Princess. 3rd Act very nearly complete – left 1st Act with him to make some alterations. Like the piece as now shaped out, very much.
Once again, Sullivan blesses a three-act version of Princess and says he likes it—a statement he often makes of whatever piece he’s working on. Also, there have been “alterations & modifications,” none of which were acrimonious, at least not enough to warrant recording. Throughout August he gets lots of work done. In September he receives a new song, The world is but. In November there is a company pow-wow to discuss show casting. Rehearsals start in mid November.
Scoring begins in December, as does the fight between Lillian Russell and Gilbert; Sullivan doesn’t sound particularly upset about it. Some songs are changed in December, so they are still actively developing the show. Sullivan reports no problems and in fact no opinions at all about the changes. (Two of the new numbers are I built upon a rock and Nothing to grumble at.)
Sullivan gets sick the day for the premiere, and that day itself (January 5, 1884) reads like a shot-for-shot outline of the first several minutes of the film Topsy-Turvy. Of the opening, Sullivan writes “not a hitch” and “Brilliant success.” He then spends several days in bed.
On January 24, Sullivan goes to see Ida in performance, with Fanny Ronalds and her daughter Fannette. He records no comments.
Then, on 29 January, 1884 he writes “Carte [visited] – told him of my resolve not to write any more ‘Savoy’ pieces.”
Two days later he has his solicitor draw up his will. Then he goes back to Paris.
So, if Sullivan had any reservations about Princess Ida, he certainly kept them close to his chest, at least so far as his diary is concerned.