The Sorcerer

:"For other uses, see Sorcerer."

"The Sorcerer" is a two-act comic opera, with a libretto by W. S. Gilbert and music by Arthur Sullivan. It was Gilbert and Sullivan's third opera together.

"The Sorcerer" opened on 17 November 1877 at the Opera Comique in the Strand in London, where it ran for 178 performances. For the 1884 revival, Gilbert and Sullivan abridged the ending to Act I and provided a new opening to Act II, and it is in this form that the work is usually presented today.

The first American production was at the Broadway Theatre in New York on February 21, 1879, for a run of just 20 performances. There were later professional revivals in New York, none of them under D'Oyly Carte auspices, in 1879, 1882, and 1883.

Background

In 1871, W. S. Gilbert and Arthur Sullivan had written "Thespis", an extravaganza for the Gaiety Theatre's holiday season that did not lead immediately to any further collaboration. Three years later, in 1875, talent agent and producer Richard D'Oyly Carte was managing the Royalty Theatre, and he needed a short opera to be played as an afterpiece to Jacques Offenbach's "La Périchole". [Ainger, p. 108] Carte was able to bring Gilbert and Sullivan together again to write the one-act piece, called "Trial by Jury", which became a surprise hit [Ainger, p. 109] [Stedman, pp. 128–29] The piece was witty, tuneful and very "English", in contrast to the burlesques and adaptations of French operettas that dominated the London musical stage at that time. "Trial by Jury" proved even more popular than "La Périchole","The Times", 29 March 1875, quoted and discussed in Ainger, p. 109] becoming an unexpected hit, touring extensivelyStedman, pp. 129–30] [Ainger, pp. 111; 117–18] and enjoying revivals and a world tour. [Gänzl, pp. 89–90]

After the success of "Trial by Jury", several producers attempted to reunite Gilbert and Sullivan, but difficulties arose. Plans for a collaboration for Carl Rosa in 1875 fell through because Gilbert was too busy with other projects,Stedman, p. 132] [Ainger, p. 112] and an attempted Christmas 1875 revival of "Thespis" by Richard D'Oyly Carte failed when the financiers backed out. [Ainger, pp. 113–14] Gilbert and Sullivan continued their separate careers, though both continued writing light opera [Ainger, p. 110] Finally, in 1877, Carte organized a syndicate of four financiers and formed the Comedy Opera Company, capable of producing a full­ length work. [Ainger, p. 130] By July 1877, Gilbert and Sullivan were under contract to produce a two-act opera. [Ainger, p. 131] Gilbert expanded on his own short story that he had written the previous year, "An Elixir of Love," [Ainger, p. 132] and also used ideas from his earlier Bab Ballads, creating a plot about a magic love potion that – as often occurs in opera – causes everyone to fall in love with the wrong partner.

Now backed by a company dedicated to their work, Gilbert, Sullivan and Carte were able to select their own cast, instead of using the players under contract to the theatre where the work was produced, as had been the case with their earlier works. They chose talented actors, most of whom were not well-known stars, and so did not command high fees, and whom they felt they could mould to their own style. Then, they tailored their work to the particular abilities of these performers. [Jacobs, p. 111; Ainger, pp. 133-34] Carte approached Mrs Howard Paul to play the role of Lady Sangazure in the new opera. Mr and Mrs. Howard Paul had operated a small touring company booked by Carte's agency for many years, but the couple had recently separated. [Mrs Paul, nee Isabella Featherstone (1833-1879) left her husband (Howard Paul, 1830-1905) around 1877, as he was having an affair with the actress-dancer Letty Lind, with whom he sired two illegitimate children. However, she continued performing under this name, often humorously impersonating the famous tenor Sims Reeves. "See" Barringon, p. 21] She conditioned her acceptance of the part on the casting of her 24-year-old protégé, Rutland Barrington. When Barrington auditioned before W. S. Gilbert, the young actor questioned his own suitability for comic opera, but Gilbert, who required that his actors play their sometimes-absurd lines in all earnestness, explained the casting choice: "He's a staid, solid swine, and that's what I want." [Ayre, p. 48] Barrington was given the role of Dr Daly, the vicar, which was his first starring role on the London stage. [http://math.boisestate.edu/gas/whowaswho/B/BarringtonRutland.htm Stone, David. "Rutland Barrington" at the "Who Was Who in the D'Oyly Carte" website (G&S Archive)] , accessed March 9, 2008]

For the character role of Mrs. Partlet, they chose Harriett Everard, an actress who had worked with Gilbert before. Carte's agency supplied additional singers, including Alice May (Aline), Giulia Warwick (Constance), and Richard Temple (Sir Marmaduke). [Ainger, p. 134] Finally, in early November 1877, the last role, that of the title character, John Wellington Wells, was filled by comedian George Grossmith. Grossmith had appeared in charity performances of "Trial by Jury", where both Sullivan and Gilbert had seen him [ [http://pinafore.www3.50megs.com/g-grossmith.html Grossmith profile at the "Memories of the D'Oyly Carte" website] , accessed March 9, 2008] (indeed, Gilbert had directed one such performance, in which Grossmith played the judge),Ainger, p. 138] and Gilbert had earlier commented favourably on his performance in Tom Robertson's "Society" at the Gallery of Illustration. [Ainger, p. 136] After singing for Sullivan, upon meeting Gilbert, Grossmith wondered aloud if the role shouldn't be played by "a fine man with a fine voice". Gilbert replied, "No, that is just what we don't want." [Ayre, p. 137]

The piece opened on 17 November 1877 at the Opera Comique, preceded by "Dora's Dream", a curtain-raiser by Sullivan's assistant Alfred Cellier, with words by Arthur Cecil, a friend of both Gilbert's and Sullivan's.Ainger, p. 140] Busy with last-minute cuts and changes the day before the show opened, Sullivan had no time to write an overture and used the "Graceful Dance" music from his incidental music to "Henry VIII (play)" as an overture. Eventually, an overture was added by Sullivan's assistant Hamilton Clarke. Gilbert's meticulous rehearsal of the cast was noticed and commented on favourably by the critics, and the opening-night audience was enthusiastic. [Ainger, p. 141] "The Sorcerer" ran for 178 performances, making a profit. [Ainger, pp. 147–48] A touring company also began playing the opera in March 1878. [Ainger, p. 152. Rosina Brandram played Lady Sangazure and J. H. Ryley was Wells.] The success of "The Sorcerer", although modest, encouraged Carte and the authors to continue their collaboration the following year with "H.M.S. Pinafore", the work that established the Gilbert and Sullivan phenomenon that produced one hit after another throughout the 1880s – the series known as the "Savoy Operas".

"The Sorcerer" was revived in 1884 and again in 1898. In the early years of the 20th century, however, it gradually fell out of favour. Between the mid-1930s and the early 1970s, the D'Oyly Carte Opera Company did not perform it at all, and many amateur companies followed suit. A 1971 revival brought new life to the work, and it has now joined the regular rotation of most G&S performing groups. "The Sorcerer" draws on a theatrical tradition that, today, is less accessible to modern audiences than the more famous G&S works starting with "Pinafore". It satirizes early Victorian customs and various theatrical conventions, and it does not include the broad political satire that would feature in many of Gilbert's later librettos.

Roles

*Sir Marmaduke Pointdextre, "an Elderly Baronet" (bass-baritone)
*Alexis, "of the Grenadier Guards, his son" (tenor)
*Dr. Daly, "Vicar of Ploverleigh" (lyric baritone)
*Notary (bass)
*John Wellington Wells, "of J.W. Wells & Co., Family Sorcerers" (comic baritone)
*Lady Sangazure, "a Lady of Ancient Lineage" (contralto)
*Aline, "her Daughter, betrothed to Alexis" (soprano)
*Mrs. Partlet, "a Pew Opener" contralto
*Constance, "her Daughter" (soprano or mezzo-soprano)
*Chorus of Villagers

:"Note": In the 1877 production, Constance was played by a soprano, Giulia Warwick. The role was lowered slightly in 1884 for mezzo-soprano Jessie Bond.

ynopsis

Act I

The villagers of Ploverleigh are preparing to celebrate the betrothal of Alexis Pointdextre, the son of the local baronet, and the blue-blooded Aline Sangazure ("Ring forth, ye bells"). Only a young village maiden named Constance Partlet seems unwilling to join in the happy mood, and we learn as she tells her mother that she is secretly in love with the local vicar, Dr Daly ("When he is here, I sigh with pleasure"); and the cleric himself promptly soliloquises that he has been unlucky in love ("The air is charged with amatory numbers"). However, despite Mrs Partlet's best attempts at matchmaking, the middle-aged Dr. Daly seems unable to conceive that a young girl like Constance would be interested in him.

Alexis and Aline arrive ("With heart and with voice"), and it soon becomes clear that his widower father Sir Marmaduke and her widowed mother Lady Sangazure are concealing long-held feelings for one another, which propriety however demands remain hidden ("Welcome joy, adieu to sadness"). The betrothal ceremony is carried out, and left alone together Alexis reveals to his fiancée his plans for practical implementation of his principle that love should unite all classes and ranks ("Love feeds on many kinds of food, I know"). He has invited a representative from a respectable London firm of sorcerers to Ploverleigh ("My name is John Wellington Wells"). Aline has misgivings about hiring a real sorcerer. Alexis instructs Wells to prepare a batch of love potion sufficient to affect the entire village, except that on married people, it will have no effect.

Wells mixes the potion, assisted by sprites, fiends, imps, demons, ghosts and other fearsome magical beings in an incantation ("Sprites of earth and air"). The village gathers for the wedding feast ("Now to the Banquet we Press"), and the potion is added to a teapot. All of the villagers, save Alexis, Aline and Wells, drink it, and after experiencing some hallucinations ("Oh, marvellous illusion") they fall unconscious.

Act II

At midnight that night ("Tis twelve, I think"), the villagers awake and, under the influence of the potion, each falls in love with the first person of the opposite sex that they see ("Why, where be Oi"). All of the matches thus made are highly and comically unsuitable; Constance, for example, loves the ancient notary who performed the betrothal ("Dear friends, take pity on my lot"). However, Alexis is pleased with the results, and now asserts that he and Aline should drink the potion themselves to seal their own love. Aline is hurt by his lack of trust and refuses, offending him ("Thou hast the power thy vaunted love"). Alexis is distracted, however, by the revelation of his upper-class father having fallen for the lower-class Mrs Partlet, but he determines to make the best of this union ("I rejoice that it's decided").

Wells, meanwhile, is regretting the results that his magic has caused, and regrets them still more when the fearsome Lady Sangazure fixes on him as the object of her affections ("Oh, I have wrought much evil with my spells"). Aline decides to yield to Alexis' persuasion and drinks the potion without telling Alexis. Upon awaking, she inadvertently meets Dr. Daly first and falls in love with him ("Oh joyous boon"). Alexis desperately appeals to Wells as to how the effects of the spell can be reversed. It turns out that this requires that either Alexis or Wells himself yield up his life to Ahrimanes. The people of Ploverleigh rally against the outsider from London, and Wells, resignedly, bids farewell and is swallowed up by the underworld in a burst of flames ("Or he or I must die"). The spell broken, the villagers pair off according to their true feelings, and celebrate with another feast (reprise of "Now to the banquet we press").

Musical numbers

*Overture (includes "With heart and with voice", "When he is here", "Dear friends, take pity on my lot", and "My name is John Wellington Wells")

Act I

*1. "Ring forth ye bells" (Double Chorus)
*2. "Constance, my daughter, why this strange depression?" (Mrs. Partlet and Constance)
*2a. "When he is here" (Constance)
*3. "The air is charged with amatory numbers" (Dr. Daly)
*3a. "Time was when Love and I were well acquainted" (Dr. Daly)
*4. "Sir Marmaduke, my dear young friend Alexis" (Sir Marmaduke, Dr. Daly, and Alexis)
*4a. (Dance)
*5. "With heart and with voice" (Chorus of Girls)
*6. "My kindly friends" (Aline)
*6a. "Happy young heart" (Aline)
*7. "My child, I join in these congratulations" (Lady Sangazure)
*8. "With heart and with voice" (Chorus of Men)
*9. "Welcome, joy!" (Lady Sangazure and Sir Marmaduke)
*10. "All is prepared" (Aline, Alexis, Notary, and Chorus)
*10a."With heart and with voice" (Double Chorus)
*11. "Love feeds on many kinds of food" (Alexis)
*12. "My name is John Wellington Wells" (Mr. Wells)
*13. "Sprites of earth and air" (Aline, Alexis, Mr. Wells, and Chorus)
*14. Act I Finale (Ensemble)
** "Now to the banquet we press"
** The Tea-Cup Brindisi ("Eat, drink and be gay")
** "Oh love, true love"
** "Oh marvellous illusion" [See Versions section.]
** "1877 version only:" Tea-Cup Brindisi reprise.

Act II

*15. "Happy are we in our loving frivolity" (Chorus) – 1877 version
*15. "'Tis twelve, I think" and "Why, where be Oi?" (Aline, Alexis, Mr. Wells, and Chorus) – 1884 version
*16. "Dear friends, take pity on my lot" (Constance, Notary, Aline, Alexis, and Chorus)
*17. "Thou hast the pow'r thy vaunted love" (Alexis)
*18. "I rejoice that it's decided" (Aline, Mrs. Partlet, Alexis, Dr. Daly, and Sir Marmaduke)
*19. "Oh, I have wrought much evil with my spells" (Lady Sangazure and Mr. Wells)
*20. "Alexis! Doubt me not, my loved one" (Aline)
*21. "Oh, my voice is sad and low" (Dr. Daly)
*22. "Oh, joyous boon! oh, mad delight" (Aline, Alexis, Dr. Daly, and Chorus)
*23. "Prepare for sad surprises" (Alexis)
*24. Act II Finale: "Or he or I must die" (leading to a reprise of "Now to the banquet we press") (Ensemble)

Versions

A ballad for Lady Sangazure, "In days gone by," originally came immediately after "My child, I join in these congratulations." It was deleted after opening night and the music is now lost, though the lyrics survive. The remaining recitative ends somewhat abruptly, without resolving to the tonic.

Alexis's Act II ballad ("Thou hast the power") was revised, with the refrain changed from common time to waltz time. Although performed on opening night, it was not included in the original vocal score. Available evidence suggests that the ballad was dropped from the opera, but later reinstated during the original run (Hulme 1984, p. 3).

For the 1884 revival, the opera underwent extensive revisions: The length of time between the acts was altered from half-an-hour to twelve hours, resulting in a different ending to Act I and a complete rewrite of the Act II opening. Whereas in 1877 the chorus succeeded in hiding the effects of the tea after "Oh marvellous illusion," and the finale worked its way back to the tea-cup brindisi, in the revised version they are unable to regain their senses, and the act ends with everyone falling over after "Oh marvellous illusion."

The original Act II started off with "Happy are we in our loving frivolity" – a pageant of mismatched couples taking place half-an-hour after the end of Act I. The revision changed the setting to nighttime, with a quiet trio for Alexis, Aline and John Wellington Wells whilst the villagers remain asleep, before they wake up with a rustic chorus in broad Cornish accents and pair up. There are also minor changes to the music leading into "Dear friends take pity on my lot," with the key of that piece lowered to accommodate the 1884 Constance.

These revisions were not, however, done very carefully. The Act I Finale still says "Their hearts will melt in half-an-hour / Then will be felt the potion's power." Similarly, Aline drinks the potion in Act II, but then falls in love with Dr. Daly immediately, instead of falling asleep for twelve hours as the revisions would require.

Originally, the final scene was to include an encounter with Ahrimanes (to be played by Mrs Paul), but the scene was cut. [ [http://books.google.com/books?id=dT1AAAAAIAAJ Barrington, Rutland. "Rutland Barrington, a Record of Thirty-five Years' Experience on the English Stage" (1908) G. Richards, p. 24] ]

Productions

"The Sorcerer" was the first of Gilbert and Sullivan's full-length operas to be revived. Other than "The Mikado", it also had a "second" London revival sooner than any of their other works, in 1898. In America, it was played as early as 1879 by the Adah Richmond Comedy Opera Troupe at Boston's Gaiety Theatre. [ [http://www.library.rochester.edu/index.cfm?PAGE=4139 Programme of March 13, 1879] ] In Australia, its first authorised production opened on 22 May 1886 at the Theatre Royal, Melbourne, produced by J. C. Williamson.

In the 20th century, "The Sorcerer" gradually went out of style. The D'Oyly Carte's principal repertory company dropped it in 1901, and it did not return until 1916, making its first professional London appearance in over twenty years in 1919. It made only intermittent appearances during the 1920s and early 1930s. In 1938 and 1939, it was performed only in the company's London seasons, and only for a handful of performances.

During the winter of 1941–41, the scenery and costumes for "The Sorcerer" and three other operas were destroyed in enemy action. [Rollins and Witts, p. 165] The opera was not revived professionally in the UK until March 29, 1970, although it was played by the American Savoyards in the U.S. in the 1960s. After 1970, it was included in the D'Oyly Carte repertory through the 1975 centenary season, then dropped for several years, then restored for the company's last several seasons before it closed in 1982.

The following table summarises the main London productions of "The Sorcerer" during Gilbert and Sullivan's lifetimes:

Recordings

"The Sorcerer" has not been recorded as often as most of the other Gilbert and Sullivan operas, and the recordings have not been generally well received. The 1966 D'Oyly Carte Opera Company recording is considered the best of their efforts to record this opera. The 1982 Brent Walker video is considered to be one of the best of that series and is recommended. [ [http://www.cris.com/~oakapple/gasdisc/sor.htm List and assessments of recordings of "The Sorcerer" at the G&S Discography] ]

The International Gilbert and Sullivan Festival offers various video recordings of the opera, including its 2005 professional G&S Opera Company video. [ [http://cnb-host4.clickandbuild.com/cnb/shop/musicalcollectablesltd?listPos=6&op=catalogue-products&prodCategoryID=43 G&S Opera Company recordings] ]

;Selected recordings
*1933 D'Oyly Carte – Conductor: Isidore Godfrey [ [http://www.cris.com/~oakapple/gasdisc/sor1933.htm Review of 1933 recording of "The Sorcerer" at the G&S Discography] ]
*1953 D'Oyly Carte – New Symphony Orchestra of London; Conductor: Isidore Godfrey [ [http://www.cris.com/~oakapple/gasdisc/sor1953.htm Review of 1953 recording of "The Sorcerer" at the G&S Discography] ]
*1966 D'Oyly Carte – Royal Philharmonic Orchestra; Conductor: Isidore Godfrey [ [http://www.cris.com/~oakapple/gasdisc/sor1966.htm Review of 1966 recording of "The Sorcerer" at the G&S Discography] ]
*1982 Brent Walker Productions – Ambrosian Opera Chorus, London Symphony Orchestra; Conductor: Alexander Faris; Stage Director: Stephen Pimlott (video) [ [http://www.cris.com/~oakapple/gasdisc/sorwalk.htm Review of 1982 Brent Walker video of "The Sorcerer" at the G&S Discography] ]

"The Sorcerer" in popular culture

In an episode of "Family Guy" titled "Patriot Games," Peter goes to England to play for an American football team called the London Silly Nannies. The Silly Nannies practice by prancing around a maypole singing "Why, Where Be Oi, and What Be Oi A Doin'" from Act II.

A series of four Tom Holt books, ("The Portable Door", "In Your Dreams", "Earth, Air, Fire, and Custard" and "You Don't Have to Be Evil to Work Here, But It Helps"), are based around 'J.W. Wells & Co', a company of sorcerers well known for their love philtre. Charlotte Macleod's book "The Plain Old Man" describes an amateur production of "The Sorcerer". Isaac Asimov wrote a short-story parody entitled "The Up-To-Date Sorcerer" that was published in 1958.

Notes

References

*
*cite book|last=Ayre|first=Leslie|year=1972|title=The Gilbert & Sullivan Companion|location=London|publisher=W.H. Allen & Co Ltd Introduction by Martyn Green.
*cite book|last=Barrington|first=Rutland|year=1908|title=Rutland Barrington: A Record of 35 Years' Experience on the English Stage|location=London|publisher=G. Richards|url=http://www.archive.org/details/rutlandbarringto00barrrich Preface by W. S. Gilbert, accessed March 9, 2008
*
* Also, five supplements, privately printed.

External links

* [http://diamond.boisestate.edu/gas/sorcerer/html/ "The Sorcerer" at The Gilbert & Sullivan Archive]
* [http://www.concentric.net/~Oakapple/gasdisc/sor.htm "The Sorcerer" at The Gilbert & Sullivan Discography]
* [http://www.archive.org/details/sorcereroriginal00sulli Vocal score]
* [http://math.boisestate.edu/gas/sorcerer/html/sorcerer_sentinel.html 1895 review of "The Sorcerer" from the Staffordshire Sentinel]
* [http://www.amiright.com/parody/performers/g/gilbertsullivan.shtml Page linking to some "Sorcerer" song parodies, among others]