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Fallen Fairies
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Fallen Fairies
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.
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.
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. Stedman calls this a "Gilbertian invasion plot". 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.
An operatic version of The Wicked World had been on Gilbert's mind for some time. As early as 1897, he had suggested the idea to Helen Carte, the wife and partner of Richard D'Oyly Carte. Arthur Sullivan, André Messager, Jules Massenet, Liza Lehmann and Alexander Mackenzie, to whom he offered it in turn, all objected to the absence of a male chorus. Edward Elgar also turned it down, but did not say why. Gilbert finally found a willing collaborator in Edward German.
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.
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. On 3 January 1910, Workman's syndicate replaced McIntosh with Amy Evans 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. The Musical Times wrote:
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. 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." 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.
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Fallen Fairies
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.
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.
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. Stedman calls this a "Gilbertian invasion plot". 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.
An operatic version of The Wicked World had been on Gilbert's mind for some time. As early as 1897, he had suggested the idea to Helen Carte, the wife and partner of Richard D'Oyly Carte. Arthur Sullivan, André Messager, Jules Massenet, Liza Lehmann and Alexander Mackenzie, to whom he offered it in turn, all objected to the absence of a male chorus. Edward Elgar also turned it down, but did not say why. Gilbert finally found a willing collaborator in Edward German.
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.
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. On 3 January 1910, Workman's syndicate replaced McIntosh with Amy Evans 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. The Musical Times wrote:
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. 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." 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.
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