Fallen Fairies; or, The Wicked World, is a two-act comic opera, with a libretto by W. S. Gilbert and music by Edward German. The story is an operatic adaptation of Gilbert's 1873 blank-verse fairy comedy, The Wicked World. In Fairyland, the fairies are curious about wicked mortals, especially their strange capacity for love. They summon three mortal men from the world below to observe them and to teach the men how to live virtuously. The fairies fall in love with the mortals, become jealous of each other and behave badly. The men return to Earth, and the fairies realize that love is overrated.
The piece premiered at London's Savoy Theatre on 15 December 1909. Gilbert directed the opera. Charles Herbert Workman produced and starred as Lutin. The cast also starred Gilbert protégée Nancy McIntosh as Selene, the Fairy Queen. McIntosh received negative reviews, and Workman soon replaced her with Amy Evans and made changes in the play that angered Gilbert, who sued Workman. Despite better reviews for Evans, the work did not please the critics, or ultimately the audiences. It failed, closing after just 50 performances. Neither Gilbert nor German would write another opera.
Background
Early in his career, Gilbert wrote a number of successful blank-verse fairy comedies. He was clearly fascinated by this plot, which had been the subject of his 1871 short story of the same name before writing The Wicked World in 1873. He also wrote (under a pseudonym) an 1873 play that parodies The Wicked World called The Happy Land, and contained much political satire aimed at politicians of the day; this made a sensation at the Court Theatre after the Lord Chamberlain banned parts of it.[1]
Like a number of Gilbert's blank-verse plays, Fallen Fairies treats the ensuing consequences when an all-female world is disrupted by men and the romantic complications they bring. His plays The Princess (1870) and Broken Hearts (1875), and his earlier operas Iolanthe (1882) and Princess Ida (1884), are all treatments of this basic idea.[2] Stedman calls this a "Gilbertian invasion plot".[3]Princess Ida and Fallen Fairies, both based on earlier blank-verse plays by Gilbert, unlike Gilbert's other operas, both retain blank verse in the dialogue.
Charles Herbert Workman, who had made a name playing the comic baritone parts in the Gilbert and Sullivan operas, assembled a production syndicate in 1909 to produce comic operas (starring himself) at the Savoy Theatre, beginning with The Mountaineers, followed by Fallen Fairies, in which he appeared in the comic role of Lutin. The piece opened on 15 December 1909, and the cast also starred Leo Sheffield as Phyllon, Percy Anderson designed the costumes. John D'Auban choreographed. Had Fallen Fairies been a success, it was intended that Gilbert would revive (with revisions) earlier operas of his that were not in the D'Oyly Carte Opera Company repertoire, and that it would be followed by at least one more new work by Gilbert and German.[7][8]
With German's agreement, Gilbert cast his protégée Nancy McIntosh as the Fairy Queen, Selene. McIntosh's vocal powers were not what they had been a decade earlier, and critics found her performance weak, saying that she was "too much a tragedy queen" for the romantic role.[8] On 3 January 1910, Workman's syndicate replaced McIntosh with Amy Evans[9] and demanded the restoration of a song that Gilbert had cut during rehearsals. Gilbert was outraged and sued Workman and the syndicate, but German declined to join him, dismayed by the dispute. Gilbert angrily banned Workman from ever performing in his operas in the United Kingdom.[10]The Musical Times wrote:
"The part of 'Selene', the fairy queen, in the Gilbert-German opera 'Fallen Fairies' is now being played with great success by Miss Amy Evans, a young singer who has made a name on the concert and Eisteddfod platforms in Wales, but who is new to the stage. She sings a new song, the words of which are by Sir William Gilbert and the music by Edward German. This song has been the subject, first of an injunction, and then of a mysterious law suit brought by Sir William against the Savoy management. It is now restored to the performance by mutual consent."[11]
The replacement of the leading lady was not enough to save Fallen Fairies from an early closing, although Evans earned praise in the role. Indeed, faults in Gilbert's libretto were likely as much to blame as any failings of McIntosh.[10][12]The Observer wrote, "It is a strange compound of trifling and tragedy, of gossamer and gnashings of teeth ... the effect is a little like that of an act of Othello pieced into The Merry Wives of Windsor."[13]Rutland Barrington, in his 1911 memoir, wrote: "I am inclined to attribute much of the failure of the opera to catch on to the fact that, owing to the entire absence of men's voices to balance the mass of soprani and alti, one's ears suffered from an unavoidable weariness, and a longing for the robust report of the male choristers; the humour of the play also seemed to me to have evaporated, to a great extent, with its conversion" to a comic opera.[14]
Fallen Fairies has never been revived professionally, and has hardly ever been revived at all, although it was given a semi-staged concert revival in 2014 at the International Gilbert and Sullivan Festival in Harrogate, England.[15] Early in 1909, Workman had planned to produce revivals of several Gilbert and Sullivan operas (and two Gilbert operas) at the Savoy after Fallen Fairies, but after his dispute with Gilbert, this idea was out of the question.[10]
Sir Ethais, a Hunnish Knight (tenor) – Claude Flemming
Sir Phyllon, a Hunnish Knight (bass-baritone) – Leo Sheffield
Lutin, Sir Ethais's Henchman (comic baritone) – C. H. Workman
Synopsis
Act I
The scene is laid in Fairyland, outside the Fairy Queen's bower, which for the purposes of the opera, is supposed to be located on the upper side of a cloud which floats over the Earth.
The fairies sing of the "wicked world" below, which they believe is populated by mortals who sin throughout their lives. Selene, their Queen, tells them that Lutin, the only fairy who has ever set foot on solid ground, will soon be returning home after a long absence. Ethais and Phyllon reveal that every fairy has an exact counterpart in the mortal world, the only difference being that the fairies are absolutely free from sin, while the identical-looking mortal is "stained with every kind of infamy."
Lutin arrives, and the eager fairies question him about what he has observed down below, but Lutin says it is too shocking to tell. Lutin tells them that their King has a gift for the fairies, and he has commanded Ethais and Phyllon to journey to mid-earth to receive it. They depart.
The fairies wonder why, if the mortal world is so miserable, its inhabitants do not take their own lives. Selene explains that mortals have one great gift that makes life worth living – the gift of Love. The fairies are in wonder at Selene's description, as they have never experienced Love. Selene explains that Love is unnecessary. Moreover, it is impossible for them to experience it, as only a mortal can inspire love, and mortals cannot set foot in Fairyland.
Zayda points out that there is a "half-forgotten law" that, when a fairy leaves his home to visit earth, those whom he leaves behind may summon his mortal counterpart from below, who may fill the absent fairy's place until he returns. Selene is shocked that the fairies would consider invoking this law, but the other fairies point out a possible benefit. They suggest that once the mortals have observed the fairies' immaculate lives, they would return to Earth and reform mankind's sinful ways. Selene agrees, and they summon Sir Ethais and Sir Phyllon, the mortal counterparts to the two recently departed fairies.
On arriving, both Sir Ethais and Sir Phyllon immediately suspect the other of some kind of wizardry, and they start fighting. The fairies, who have never seen combat, believe it is a game. Sir Ethais is wounded in the arm. When the fairies step forward, the two knights are immediately taken with their beauty, and agree to stop fighting. The fairies, too, are immediately smitten with the men. Selene explains that the fairies wish to teach them how to live good and pure lives, while commenting in an aside how attractive they are. The men vow immediately to reform their sinful ways, taking tutelage from the fairies.
Selene wonders if there is a way that mortals show loyalty to a Queen. They explain that it is done with "a very long and tender kiss ... preferably, just below the nose." The fairies have never heard of this procedure, but they are pleased to be kissed on the lips, as they know it carries great weight with the knights.
Sir Ethais is weak from loss of blood, and asks to summon his henchman, Lutin, who is skilled at healing. The fairy Lutin enters, and Sir Ethais mistakes him for his mortal counterpart. Lutin is appalled to find mortals in Fairyland, warning the fairies that Love is the source of all earthly sin. The fairies, now smitten with the men, do not believe him. Selene sends Lutin down below, so that his mortal counterpart can replace him. As he descends, the Fairies kneel at the feet of Sir Ethais and Sir Phyllon.
Act II
The fairies stand vigil outside of Selene's bower, where she has been tending Sir Ethais, who is delirious from the effects of his wound. The fairies are outraged at Selene's indecorous behaviour, and wonder if she is still fit to serve as Queen. Selene enters and tells them she has saved Sir Ethais's life, but the jealous fairies are not interested in listening to her. Selene is perplexed at her sisters' changed attitude.
Sir Ethais emerges from the bower, still weak from his wound. The pair acknowledge that they are in love. Selene offers to give up everything – her home, her honour, her life – to be with Sir Ethais. She gives him a ring as a pledge of her love. They go back into the bower together. Darine has overheard them. She too is wildly in love with Sir Ethais, and is feverishly jealous of Selene. Sir Phyllon enters and tries to court Darine, but she does not return his affection. After Sir Phyllon leaves, Selene re-enters. Sir Ethais has suffered a setback, and she fears he will die. Darine suggests that the only hope is to summon the fairy Lutin's mortal counterpart, who will be able to cure Sir Ethais. Selene is grateful for the suggestion, unaware that Darine intends to woo Sir Ethais for herself, once he is recovered.
The mortal Lutin arrives. He is just as enchanted with the fairies as Sir Ethais and Sir Phyllon were in Act I, and they are similarly impressed with him. Lutin is so taken with Fairyland that he calls it Paradise and assumes he must be dead. The fairies explain the situation, and they all vie for his attention, saying that they prefer his rugged appearance to men that are handsome. Zayda persuades all the other fairies to find food for Lutin. When they have left, she tells him that all of the other fairies have faults, and that she is the only fairy worthy of his esteem. When the other fairies return, they ask Lutin if he has a wife. He replies that he is married down below, but is a bachelor in Fairyland, which offends Zayda.
Darine enters, desperately seeking Lutin's aid to cure Sir Ethais. She is the fairy counterpart to Lutin's mortal wife. Lutin does not understand this and assumes his wife has followed him there to chastise his infidelity. After a lengthy misunderstanding, Darine finally gets through to Lutin, and he gives her a phial with the magical cure for Sir Ethais's wound.
Ethais rejects Selene's pleading, choosing to return to earth without her
Darine contrives a ruse to win Sir Ethais's love. She tells him that Sir Phyllon had accused him of exaggerating the severity of his wound, so that he could avoid fighting again. Sir Ethais is outraged at being called a coward, and wants to challenge Sir Phyllon if he ever recovers. Darine tells him that she has the cure, but she will give it to him only if he promises to love her. Sir Ethais agrees, and observing that one beautiful woman is as good as another, gives Selene's ring to Darine. He takes the potion, and is cured. Sir Phyllon enters, and Sir Ethais accosts him. Their argument escalates, and Sir Ethais turns to Darine to confirm that Sir Phyllon had accused him of cowardice. Darine admits that this was only an artifice. Sir Ethais asks Sir Phyllon's forgiveness and renounces Darine. She implores him to reconsider.
Selene enters. She wonders why her sister is alone with Sir Ethais. Darine calls Selene a hypocrite. The other fairies now enter, and tell Selene that she is the source of all the ill that has blighted Fairyland. They urge her to relinquish the throne in favour of Darine. Admitting that she has been an unfit Queen, she takes off her crown and places it on Darine's head. Selene says that her kingdom is now in the heart of Sir Ethais, but Darine insists that he belongs to her, showing that she now has the ring that Selene had pledged to him. Selene is shocked, but Sir Ethais admits that he had parted with it in exchange for the cure to his wound. Selene pronounces him, of all men, "the most accursed." He begs her forgiveness, and in a rambling address she denounces him, but says that she will join him on earth.
Locrine bursts in with the news that the men's fairy counterparts are about to return. The mortal Lutin is much relieved, for while he finds Zayda enchanting, he cannot enjoy himself while Darine, who bears so close a resemblance to his wife, is looking on. Sir Phyllon and Lutin descend to earth. Selene frantically tries to detain Sir Ethais, saying that she wants to accompany him to earth, to be his "humble, silent, and submissive slave." But Sir Ethais has now tired of her. He casts her aside and returns to Earth, alone.
As soon as the men are gone, the fairies change their attitudes, as if awaking from a dream. With the mortals now gone from their midst, the chastened fairies admit that they have all sinned. The fairy Ethais arrives with the news that fairies, like mortals, can love. But Selene warns that love is a deadly snare. The chorus praise Selene's purity, and Darine returns the crown to her head. The fairies kneel in adoration at her feet.
Musical numbers
Act I
1. Fairies, Locrine and Darine – "Oh, world below!"
↑ Stedman, p. 95: In "a Gilbertian invasion" plot, outsiders change a tranquil society, as where the Thespians take control of Olympus in Thespis, and the Flowers of Progress remodel Utopia in Utopia, Limited.
↑ Bond, Ian. "Fallen Fairies"Archived 24 October 2014 at the Wayback Machine , Rarely Performed Shows, St David's Players, Exeter, England, accessed 17 October 2014. See also the International G&S Festival's programme for 12 August 2014
Iolanthe; or, The Peer and the Peri is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert, first performed in 1882. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert and Sullivan. In the opera, the fairy Iolanthe has been banished from fairyland because she married a mortal; this is forbidden by fairy law. Her son, Strephon, is an Arcadian shepherd who wants to marry Phyllis, a Ward of Chancery. All the members of the House of Peers also want to marry Phyllis. When Phyllis sees Strephon hugging a young woman, she assumes the worst and sets off a climactic confrontation between the peers and the fairies. The opera satirises many aspects of British government, law and society. The confrontation between the fairies and the peers is a version of one of Gilbert's favourite themes: a tranquil civilisation of women is disrupted by a male-dominated world through the discovery of mortal love.
H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London on 25 May 1878, and ran for 571 performances, which was the second-longest run of any musical theatre piece up to that time. H.M.S. Pinafore was Gilbert and Sullivan's fourth operatic collaboration and their first international sensation.
Sir Edward German was an English musician and composer of Welsh descent, best remembered for his extensive output of incidental music for the stage and as a successor to Arthur Sullivan in the field of English comic opera. Some of his light operas, especially Merrie England, are still performed.
Utopia, Limited; or, The Flowers of Progress, is a Savoy opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on 7 October 1893 for a run of 245 performances. It did not achieve the success of most of their earlier productions.
Charles Herbert Workman was a singer and actor best known as a successor to George Grossmith in the comic baritone roles in Gilbert and Sullivan operas. He was variously credited as Charles H. Workman, C. Herbert Workman and C. H. Workman.
A Princess of Kensington is an English comic opera in two acts by Edward German to a libretto by Basil Hood, produced by William Greet. The first performance was at the Savoy Theatre, London, on 22 January 1903 and ran for 115 performances.
Nancy Isobel McIntosh was an American-born singer and actress who performed mostly on the London stage. Her father was a member of the South Fork Fishing and Hunting Club, which had been blamed in connection with the 1889 Johnstown Flood that resulted in the loss of over 2,200 lives in Johnstown, Pennsylvania.
The Palace of Truth is a three-act blank verse "Fairy Comedy" by W. S. Gilbert first produced at the Haymarket Theatre in London on 19 November 1870, adapted in significant part from Madame de Genlis's fairy story, Le Palais de Vérite. The play ran for approximately 140 performances and then toured the British provinces and enjoyed various revivals even well into the 20th century. There was also a New York production in 1910.
Foggerty's Fairy and Other Tales is an 1890 book by W. S. Gilbert, collecting several of the short stories and essays he wrote in his early career as a magazine writer. A number of them were later adapted as plays or opera librettos.
Broken Hearts is a blank verse play by W. S. Gilbert in three acts styled "An entirely original fairy play". It opened at the Royal Court Theatre in London on 9 December 1875, running for three months, and toured the provinces in 1876. It was revived at the Savoy Theatre in 1882. Julia Gwynne played Melthusine. It was revived again in 1883, and yet again in 1888 starring Marion Terry in February and Julia Neilson in May, and also at Crystal Palace that year. There was also a New York City production at the Madison Square Theatre.
Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. The popularity of these works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that Gilbert, Sullivan and their producer Richard D'Oyly Carte founded, the D'Oyly Carte Opera Company. These Savoy operas are still frequently performed in the English-speaking world and beyond.
The Princess is a blank verse farcical play, in five scenes with music, by W. S. Gilbert which adapts and parodies Alfred Lord Tennyson's humorous 1847 narrative poem, The Princess. It was first produced at the Olympic Theatre in London on 8 January 1870.
The Wicked World is a blank verse play by W. S. Gilbert in three acts. It opened at the Haymarket Theatre on 4 January 1873 and ran for a successful 145 performances, closing on 21 June 1873. The play is an allegory loosely based on a short illustrated story of the same title by Gilbert, written in 1871 and published in Tom Hood's Comic Annual, about how pure fairies cope with a sudden introduction to them of "mortal love."
The Happy Land is a play with music written in 1873 by W. S. Gilbert and Gilbert Arthur à Beckett. The musical play burlesques Gilbert's earlier play, The Wicked World. The blank verse piece opened at the Royal Court Theatre on 3 March 1873 and enjoyed a highly successful run, soon touring, and then being immediately revived at the same theatre in the autumn of 1873.
L'Île Enchantée is an 1864 ballet by Arthur Sullivan written as a divertissement at the end of Vincenzo Bellini's La Sonnambula at Covent Garden. It was choreographed by H. Desplaces.
Amy Evans was a Welsh soprano and actress known for her performances in oratorio, recitals, and opera. She also made some music recordings beginning in 1906. In 1910, she played the leading role of Selene in W. S. Gilbert's last opera, Fallen Fairies, and sang at the Royal Opera House the same year and thereafter. She played Princess Helena in A Waltz Dream at Daly's Theatre in 1911.
Harlequin and the Fairy's Dilemma, retitled The Fairy's Dilemma shortly after the play opened, is a play in two acts by W. S. Gilbert that parodies the harlequinade that concluded 19th-century pantomimes.
The Mountain Sylph is an opera in two acts by John Barnett to a libretto by Thomas James Thackeray, after Trilby, ou le lutin d'Argail by Charles Nodier. It was first produced in London at the Lyceum Theatre in 1834 with great success.
The Mountaineers is an English "romantic comic opera" in three acts with a libretto by Guy Eden and Reginald Somerville (1867–1948), lyrics by Eden and music by Somerville. The story concerns Clarice, who challenges her two suitors to retrieve an edelweiss for her from the highest peak.
Elsie Spain, born Elsie Rickets, was an English opera singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company from 1908 to 1910 and in operettas and Edwardian musical comedies. She was one of the last leading ladies in the Gilbert and Sullivan roles personally trained by W. S. Gilbert. Among her roles in musicals, she originated the part of Princess Mathilde in the long-running The Quaker Girl.
References
Ainger, Michael (2002). Gilbert and Sullivan, a Dual Biography. Oxford: Oxford University Press. pp.429–33. ISBN0-19-514769-3.
Crowther, Andrew (2000). Contradiction Contradicted – The Plays of W. S. Gilbert. Associated University Presses. ISBN0-8386-3839-2.
Gänzl, Kurt (1986). The British Musical Theatre. New York: Oxford University Press. Vol. I, pp. 1037–38 and 1045.
Gillespie, James. "Gilbert's Last Opera" in Savoyard, 12:2 (September 1973), pp.10–12.
Hargreaves, Henry A. "Sir William Schwenck Gilbert and the lure of the fallen fairies" (1967) IMZ report: Records/Disques/Schallplatten – Die Schallplatte in der Musikkultur der Gegenwart Wien: Internationales Musikzentrum Wien pp.63–70.
Hyman, Alan (1978). Sullivan and His Satellites. London: Chappell. pp.165–68.
Rees, Brian (1986). A Musical Peacemaker. Abbotsbrook: Kensal Press. pp.144–69.
Review: "Fallen Fairies." The Musical Times, Vol. 51, No. 803 (1 January 1910), p.23
Review: "Fallen Fairies, Or, The Wicked World." The Times (16 December 1909), p.12; Issue 39144; col D
Pearson, Hesketh. Gilbert and Sullivan (1935), Harmondsworth, Penguin Books
Scott, William Herbert (1932). Edward German: An Intimate Biography. London: Cecil Palmer. pp.131–45.
Shepherd, Marc. "Introduction: Historical Context", The Grand Duke (piano score), New York: Oakapple Press, 2009. Linked at "The Grand Duke", The Gilbert and Sullivan Archive
Stedman, Jane W. (1996). W. S. Gilbert, A Classic Victorian & His Theatre. Oxford University Press. pp.332–37. ISBN0-19-816174-3.
Dunhill, Thomas F. "Edward German, An Appreciation" in Musical Times, Vol. 77, No. 1126 (Dec. 1936), pp.1073–1077.
External links
Fallen Fairies at The Gilbert & Sullivan Archive, including several contemporaneous reviews in London papers
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