628:
19:
274:"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."
636:
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.
612:
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.
640:
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.
209:
298:, 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.
549:
64:. 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.
588:
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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.
623:
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
598:
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
647:
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
639:
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
635:
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
559:
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
615:
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
571:
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
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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
643:
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.
583:
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
575:
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
611:
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
607:
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
322:
563:
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.
265:
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.
260:
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
83:
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.
616:
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
644:
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.
1080:
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
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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.
576:
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
560:
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."
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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.
545:
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.
568:
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.
301:
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
282:
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.
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309:, England. Early in 1909, Workman had planned to produce revivals of several Gilbert and Sullivan operas (and two Gilbert operas) at the Savoy after
978:
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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
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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
302:
818:
Stedman, p. 95: In "a Gilbertian invasion" plot, outsiders change a tranquil society, as where the Thespians take control of Olympus in
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deadly snare. The chorus praise Selene's purity, and Darine returns the crown to her head. The fairies kneel in adoration at her feet.
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Ethais's life, but the jealous fairies are not interested in listening to her. Selene is perplexed at her sisters' changed attitude.
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treats the ensuing consequences when an all-female world is disrupted by men and the romantic complications they bring. His plays
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operas, assembled a production syndicate in 1909 to produce comic operas (starring himself) at the Savoy Theatre, beginning with
155:, both based on earlier blank-verse plays by Gilbert, unlike Gilbert's other operas, both retain blank verse in the dialogue.
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7. Sir Ethais and Sir Phyllon – "By god and man, who brought us here, and how.... This is some wizardry of thy design"
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been a success, it was intended that Gilbert would revive (with revisions) earlier operas of his that were not in the
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233:, in which he appeared in the comic role of Lutin. The piece opened on 15 December 1909, and the cast also starred
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how attractive they are. The men vow immediately to reform their sinful ways, taking tutelage from the fairies.
989:, England, accessed 17 October 2014. See also the International G&S Festival's programme for 12 August 2014
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as Selene, the Fairy Queen. McIntosh received negative reviews, and Workman soon replaced her with
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at The Gilbert & Sullivan Archive, including several contemporaneous reviews in London papers
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Sir Ethais, Sir Phyllon, Darine, Selene with Fairies – "When homage to his Queen a subject shows"
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147:(1884), are all treatments of this basic idea. Stedman calls this a "Gilbertian invasion plot".
72:
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1239:
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21. Darine, Zayda, Locrine, Fleta, Selene and Fairies – "Away, away! Thou art no Queen of ours"
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repertoire, and that it would be followed by at least one more new work by Gilbert and German.
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16. Lutin, Fleta, Locrine, Cora, Leila – "Help! Help! Help!... A freak of nature, not of art"
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also turned it down, but did not say why. Gilbert finally found a willing collaborator in
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had been on Gilbert's mind for some time. As early as 1897, he had suggested the idea to
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2. Fairies, Zayda, Fleta, Locrine, Leila and Lutin – "Hail, Lutin, wondrous traveller!"
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Ethais rejects Selene's pleading, choosing to return to earth without her
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in 1873. He also wrote (under a pseudonym) an 1873 play that parodies
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produced and starred as Lutin. The cast also starred Gilbert protégée
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1069:. New York: Oxford University Press. Vol. I, pp. 1037–38 and 1045.
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3. Lutin with Fairies" – One incident I'll tell that will appall"
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Darine, Zayda and Locrine – "Oh, gentle knights, with joy elate"
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gives her a phial with the magical cure for Sir Ethais's wound.
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986:
1218:
Interview with W. S. Gilbert at the time of the production of
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18. Lutin with Fairies – "In yonder world, where devils strew"
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13. Selene and Sir Ethais – "Thy features are fair and seemly"
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Zayda, Darine, Selene, Ethais and Lutin – "Nay, heed him not!"
219:, who had made a name playing the comic baritone parts in the
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Fairies, Sir Ethais and Sir Phyllon – "Oh, gallant gentlemen"
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17. Lutin with Fairies – "Suppose you take, with open mind"
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The replacement of the leading lady was not enough to save
1136:(piano score), New York: Oakapple Press, 2009. Linked at
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5. Darine, Zayda and Fairies – "Man is a being all accuse"
92:
Early in his career, Gilbert wrote a number of successful
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12. Zayda and Fairies – "I never profess to make a guess"
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8. Selene and Fairies – "Poor, purblind, wayward youths"
54:. The story is an operatic adaptation of Gilbert's 1873
1048:
Contradiction Contradicted – The Plays of W. S. Gilbert
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14. Sir Ethais and Selene – "When a knight loves ladye"
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4. Selene – "With all the misery, with all the shame"
1172:, Vol. 77, No. 1126 (Dec. 1936), pp. 1073–1077.
1149:
W. S. Gilbert, A Classic Victorian & His Theatre
1132:
Shepherd, Marc. "Introduction: Historical Context",
1031:. Oxford: Oxford University Press. pp. 429–33.
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9. Sir Ethais and Sir Phyllon – "With keen remorse"
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1. Fairies, Locrine and Darine – "Oh, world below!"
256:With German's agreement, Gilbert cast his protégée
1113:(16 December 1909), p. 12; Issue 39144; col D
913:"The Controversy Surrounding Gilbert's Last Opera"
739:15. Darine and Sir Phyllon – "But dost thou hear?"
71:on 15 December 1909. Gilbert directed the opera.
1335:
1109:Review: "Fallen Fairies, Or, The Wicked World."
824:, and the Flowers of Progress remodel Utopia in
751:19. Lutin with Fairies – "When husband supposes"
677:6. Selene and Fairies – "And now to summon them"
1106:, Vol. 51, No. 803 (1 January 1910), p. 23
116:after the Lord Chamberlain banned parts of it.
985:, Rarely Performed Shows, St David's Players,
766:23. Act II Finale: Company – "Pure as the air"
730:12a Selene – "Oh love that rulest in our land"
119:Like a number of Gilbert's blank-verse plays,
1247:
1098:. Abbotsbrook: Kensal Press. pp. 144–69.
1073:Gillespie, James. "Gilbert's Last Opera" in
692:Selene – "If my obedient pupils you would be"
1151:. Oxford University Press. pp. 332–37.
880:
878:
703:Lutin – "The warrior, girt in shining might"
1002:'s illustration of the equivalent scene in
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462:Maia (non-speaking role) – Gladys Lancaster
459:Chloris (non-speaking role) – Miriam Lycett
303:International Gilbert and Sullivan Festival
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1240:
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212:Gilbert, Workman and German at a rehearsal
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1128:. London: Cecil Palmer. pp. 131–45.
1077:, 12:2 (September 1973), pp. 10–12.
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709:Lutin with Fairies – "Hark ye, you sir!"
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1199:Programme from the original production
1029:Gilbert and Sullivan, a Dual Biography
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893:"Savoy Theatre – Miss Amy Evans now",
786:: its true and remarkable history" in
465:Ina (non-speaking role) – Isabel Agnew
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1123:
1084:
1064:
1168:"Edward German, An Appreciation" in
1126:Edward German: An Intimate Biography
1120:(1935), Harmondsworth, Penguin Books
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1089:. London: Chappell. pp. 165–68.
13:
915:, The Gilbert and Sullivan Archive
760:22. Selene – "Hark ye, sir knight"
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14:
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1261:
1176:
1050:. Associated University Presses.
1228:at the Edward German Discography
1142:The Gilbert and Sullivan Archive
807:The Gilbert and Sullivan Archive
790:vol. 1, no. 8 (1994), pp. 228–37
724:11. Fairies – "For many an hour"
67:The piece premiered at London's
1124:Scott, William Herbert (1932).
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135:(1875), and his earlier operas
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788:W. S. Gilbert Society Journal
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955:Barrington, Rutland (1911).
754:20. Darine – "Triumphant I!"
7:
1102:Review: "Fallen Fairies."
1087:Sullivan and His Satellites
1067:The British Musical Theatre
1011:The Illustrated London News
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10:
1390:
1374:Fairies in popular culture
763:22a. Melodrame (Orchestra)
292:The Merry Wives of Windsor
251:D'Oyly Carte Opera Company
173:, the wife and partner of
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1147:Stedman, Jane W. (1996).
1046:Crowther, Andrew (2000).
961:. London: Grant Richards.
927:, 1 February 1910, p. 117
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584:weight with the knights.
22:Scenes and characters in
1305:A Princess of Kensington
1027:Ainger, Michael (2002).
809:, accessed 10 March 2009
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540:
1359:English-language operas
1354:Operas by Edward German
981:24 October 2014 at the
958:More Rutland Barrington
897:, 6 January 1910, p. 11
317:Roles and original cast
241:designed the costumes.
217:Charles Herbert Workman
163:An operatic version of
159:Creation and production
73:Charles Herbert Workman
1349:Works by W. S. Gilbert
964:available online here.
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1204:Opening night reviews
848:Gilbert interview in
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522:Sir Ethais's Henchman
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1364:English comic operas
1118:Gilbert and Sullivan
1096:A Musical Peacemaker
1094:Rees, Brian (1986).
1085:Hyman, Alan (1978).
1065:Gänzl, Kurt (1986).
221:Gilbert and Sullivan
175:Richard D'Oyly Carte
36:or, The Wicked World
884:Stedman, pp. 334–35
851:The Daily Telegraph
504:) – Claude Flemming
352:The Fairy Phyllon (
245:choreographed. Had
195:Alexander Mackenzie
1213:, 16 December 1909
1166:Dunhill, Thomas F.
1116:Pearson, Hesketh.
911:Morrison, Robert.
872:Shepherd, p. xxvii
700:10. Act I Finale:
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456:) – Marjorie Dawes
412:) – Ethel Morrison
340:The Fairy Ethais (
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296:Rutland Barrington
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1104:The Musical Times
925:The Musical Times
854:, 9 December 1909
531:) – C. H. Workman
517:) – Leo Sheffield
268:The Musical Times
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509:a Hunnish Knight
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280:Fallen Fairies
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275:
258:Nancy McIntosh
247:Fallen Fairies
239:Percy Anderson
231:Fallen Fairies
229:, followed by
187:Jules Massenet
183:André Messager
160:
157:
153:Fallen Fairies
121:Fallen Fairies
109:The Happy Land
89:
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77:Nancy McIntosh
58:fairy comedy,
31:Fallen Fairies
24:Fallen Fairies
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1158:0-19-816174-3
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510:
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506:
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481:C. H. Workman
478:
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453:mezzo-soprano
449:
447:) – Alice Cox
446:
445:speaking role
442:
440:) – Ruby Gray
439:
438:
437:mezzo-soprano
433:
430:
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428:mezzo-soprano
424:
422:
421:Mabel Burnege
418:
417:speaking role
414:
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405:
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397:mezzo-soprano
393:
390:
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388:mezzo-soprano
384:
381:
378:(replaced by
377:
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360:Leo Sheffield
357:
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355:bass-baritone
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132:Broken Hearts
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114:Court Theatre
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69:Savoy Theatre
65:
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52:Edward German
50:and music by
49:
48:W. S. Gilbert
45:
41:
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33:
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1289:(1901) with
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291:
290:pieced into
287:
284:The Observer
283:
279:
277:
267:
255:
246:
243:John D'Auban
237:as Phyllon,
230:
224:
215:
199:Edward Elgar
191:Liza Lehmann
164:
162:
152:
149:Princess Ida
148:
144:Princess Ida
142:
136:
130:
126:The Princess
124:
120:
118:
107:
103:
97:
91:
66:
59:
35:
30:
29:
28:
23:
15:
1344:1909 operas
974:Bond, Ian.
553:Jessie Rose
402:Jessie Rose
171:Helen Carte
141:(1882) and
129:(1870) and
94:blank-verse
56:blank-verse
40:comic opera
1338:Categories
1209:Review in
1194:midi files
1021:References
88:Background
1313:Tom Jones
1211:The Times
1111:The Times
895:The Times
409:contralto
406:Locrine (
385:Darine, (
380:Amy Evans
328:as Selene
307:Harrogate
263:Amy Evans
81:Amy Evans
42:, with a
1291:Sullivan
1075:Savoyard
979:Archived
594:as Lutin
555:as Zayda
536:Synopsis
528:baritone
476:baritone
443:Neodie (
364:Selene,
138:Iolanthe
44:libretto
1008:, from
821:Thespis
520:Lutin,
488:Mortals
468:Lutin,
450:Fleta (
434:Leila (
394:Zayda (
371:soprano
334:Fairies
288:Othello
270:wrote:
106:called
1369:Operas
1324:(1909)
1316:(1907)
1308:(1903)
1300:(1902)
1281:(1901)
1270:Operas
1155:
1054:
1035:
1014:, 1873
987:Exeter
719:Act II
603:Act II
526:comic
474:comic
425:Cora (
415:Zara (
771:Notes
657:Act I
578:aside
541:Act I
501:tenor
343:tenor
1153:ISBN
1052:ISBN
1033:ISBN
479:) –
419:) –
400:) –
374:) –
358:) –
346:) –
193:and
151:and
805:,
618:she
305:in
294:."
46:by
1340::
1140:,
902:^
877:^
205:.
189:,
185:,
181:,
177:.
34:;
1255:e
1248:t
1241:v
1161:.
1060:.
1041:.
830:.
524:(
511:(
498:(
472:(
382:)
368:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
