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The Sorcerer

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The Sorcerer

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The Sorcerer Hinweise und Aktionen

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Vive le Remake! Nominated for 1 Oscar. Another 2 nominations. Edit Cast Cast overview, first billed only: Roy Scheider Nilo Amidou Corlette Peter Capell Lartigue Karl John Spider Rosario Almontes Agrippa Richard Holley Billy White Anne-Marie Deschodt Learn more More Like This.

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Rolling Thunder Crime Drama Thriller. Blow Out Mystery Thriller. 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 each other, which propriety however demands remain hidden "Welcome joy, adieu to sadness".

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. Nevertheless, Alexis instructs Wells to prepare a batch of love potion, sufficient to affect the entire village, except that it must have no effect on married people.

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.

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 that his upper-class father has fallen for the lower-class Mrs Partlet; 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".

For the revival, an overture was composed by Sullivan's assistant, Hamilton Clarke. Beverly, and costumes were by C.

The Sorcerer was revived in , the first of Gilbert and Sullivan's full-length operas to be revived.

Its second London revival in came sooner than any other Savoy opera except for The Mikado. Williamson , starring Frank Thornton , Nellie Stewart and Alice Barnett , conducted by Alfred Cellier , [38] although unauthorised productions had appeared by In the early years of the 20th century, however, The Sorcerer gradually fell out of favour in Britain.

The company played the opera only intermittently during the s and early s. In and , it was performed only in the company's London seasons, and only for a handful of performances.

During the winter of —42, the scenery and costumes for The Sorcerer and three other operas were destroyed in enemy action.

Outside the U. Amateur companies that had dropped the opera restored it to their rotations after the revival, and it still receives regular productions, both professional and amateur.

The following table summarises the main London productions of The Sorcerer during Gilbert and Sullivan's lifetimes:. The early reviews were generally favourable.

Sullivan's music, always tuneful, bright, and sparkling, and frequently reaching a very high standard of excellence, could hardly fail to please.

The Times commented that "the music is spontaneous, appearing invariably to spring out of the dramatic situations, as though it was their natural concomitant"; [52] The Musical Times mused that "it seems as if every composition had grown up in the mind of the author as he wrote the words"; and [56] The Pall Mall Gazette called the union between composer and librettist "well-assorted", arguing that "the opera contains several very happily designed pieces, in which one cannot tell and need not know whether the merit of the original underlying idea belongs to the composer of the poem or to the author of the score".

A dissenting voice was Figaro , which claimed that there was nothing in The Sorcerer that could not have been written by "any theatrical conductor engaged at a few pounds a week".

Gilbert — to whom we owe a deep debt of gratitude for the pure and healthy fun he has given us in such comedies as "Patience" — seems to have a craze for making bishops and clergymen contemptible.

Yet are they behind other professions in such things as earnestness, and hard work, and devotion of life to the call of duty? That clever song "The pale young curate", with its charming music, is to me simply painful.

I seem to see him as he goes home at night, pale and worn with the day's work, perhaps sick with the pestilent atmosphere of a noisome garret where, at the risk of his life, he has been comforting a dying man — and is your sense of humour, my reader, so keen that you can laugh at that man?

The Baronet sings to the accompaniment of a gavotte, and suddenly bursts forth into a rapid semi-quaver passage, expressive of his admiration of the lady.

She follows his example, and while one sings a slow movement the other sings the presto movement alternatively".

Both revivals during the composer's lifetime were successful. The Times called the revival "distinctly a step in the right direction" [66] and in the paper claimed that " The Sorcerer is very far from having exhausted its popularity".

Abounding in tuneful numbers, one or two of which rank with anything that has come from Sir Arthur Sullivan's pen, the orchestration is thin compared with that of his later operas and its melodies have never taken the same popular hold as those of Pinafore , a work of about equal calibre from a musical point of view.

The libretto is sparkling and pungent, and the idea of presenting a British bagman in the guise of a controller of demons and vendor of family curses is as happy a conception as any which has taken form on this modern stage".

Later assessments of the opera have often mentioned both the opera's strong and weak points. Audrey Williamson wrote in a book that the virtues of The Sorcerer , "in spite of its defects The Sorcerer contains two of W.

Gilbert's best-drawn characters, the soulful Dr Daly Sir Arthur Sullivan's music is delightful and guaranteed to weave a magic spell over all those who hear it, if not actually to make them fall instantly in love with their next-door neighbours.

Without those cues what remains is neither as exotic nor as amusing as Pinafore, Pirates or The Mikado.

Still, The Sorcerer packs ample charms, including a felicitous score, a Verdian drinking song turned to teetotal ends, and at least one chorus that has reached the periphery of pop culture.

The satire in the opera is focused on old-fashioned customs, pastoral opera conventions, the "popularity of curates, the pose of aristocratic benevolence, and the inebriety of the working man" rather than the broad political satire that would feature in many of the later Savoy opera librettos.

As Gilbert scholar Andrew Crowther explains, Gilbert characteristically combines his criticisms with comic entertainment, which renders them more palatable, while at the same time underlining their truth: "By laughing at a joke you show that you accept its premise.

Wells' speech about blessings being less popular than curses to Mr. The characters in The Sorcerer have family names that characterise them.

Pointdextre is French for dexter point, a heraldic term; Sangazure is French for blue blood. Partlet means hen. Other musical numbers that characterise the opera are the quintet in Act II, "I rejoice that it's decided", which is "one of the prettiest things Sullivan ever wrote in the Mendelssohnian manner Wells and Lady Sangazure there is a divertingly sepulchral andante and a no less comic tarentello-like allegro".

It is the only Savoy opera to require trap, which many modern theatres do not have, [81] and requires a pyrotechnical effect for a flash in the incantation scene.

In addition to Gilbert's story, An Elixir of Love , critics have traced several ideas in the opera to earlier sources.

The concept of a love philtre was widespread in nineteenth century opera, [83] and a philtre that causes people to fall in love with first person who they see is found in Shakespeare's A Midsummer Night's Dream.

Some commentators have argued that the opera's relatively low popularity [87] is due to satire that relies on Victorian era class distinctions; it may not be clear to the modern audience why a baronet cannot marry a pew-opener, while in the Victorian era it was self-evident.

In , E. Dent wrote in reference to The Sorcerer : "It seems as if a course of Mozart in English might be the best preliminary step towards educating our on-coming public to a really intelligent appreciation of Sullivan".

Pinafore satirise the idea of love levelling all ranks, the earlier opera attacks it more aggressively, offending audiences with which that idea was popular.

The opera establishes several important patterns for future Gilbert and Sullivan works. First, several recurring character types that would appear in their later operas are included: a comic baritone character with an autobiographical patter song J.

Wells [91] and a tenor and soprano as young lovers Alexis and Aline. Those types can be traced back to Italian comic opera and commedia dell'arte.

The vicar's song, "Time was when love and I were well acquainted" is one of the first in a string of meditative " Horatian " lyrics in the Savoy operas, "mingling happiness and sadness, an acceptance and a smiling resignation".

One notable innovation that is characteristic of the Gilbert and Sullivan operas, and confirmed by its extensive use in The Sorcerer , is the employment of the chorus as an essential part of the action.

In most earlier operas, burlesques and comedies, the chorus had very little impact on the plot and served mainly as "noise or ornament".

Robertson , was that the costumes and sets were made as realistic as possible. The Sorcerer also contained several musical techniques that would become typical in the operas.

One of the most important ones is the comic baritone's lightly orchestrated, rapid-fire patter song, which would become one of the most distinguishing and popular features of Gilbert and Sullivan operas.

Following Italian opera precedents, such as " Largo al factotum " from The Barber of Seville , these numbers juxtapose virtuosity in their speed of delivery requiring clarity of elocution with their often comic or satiric lyrics.

In "My name is John Wellington Wells", the title character of The Sorcerer introduces himself as a tradesman of an ironic kind: "a dealer in magic and spells".

For example, in the vicar's Act I song, the same melody is sung in each of the two stanzas using the following text:. In the second, the syllable trem has an optional high note to give it a unique character.

Several ideas from The Sorcerer were reused in later Savoy operas. Many images from "Have faith in me" , Aline's cut ballad, are present in "None shall part us" in Iolanthe.

Gilbert initially wrote a duet for Aline and Lady Sangazure, "Oh, why thou art sad, my mother? These numbers were cut before opening night, although the ballad was included in the first published version of the libretto.

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.

The Act I finale was shortened during the original production to omit a reprise of the Brindisi after the "Oh marvellous illusion" chorus, and Constance's Act II song was transposed downwards.

Wells summoned Ahrimanes to be played by Mrs Paul , [] who told him that either he or Alexis must yield his life to quell the spell.

This scene was cut, although its opening recitative in rewritten form was present in the first production. The opera was extensively revised for the revival.

Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings.

External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. An aging hypnotist creates a device that allows the user to control the mind of another person, but his wife abuses its power by manipulating a younger man to commit evil acts.

Director: Michael Reeves. Available on Amazon. Added to Watchlist. Leading Men to Watch on Prime Video.

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Edit Cast Complete credited cast: Boris Karloff Marcus Monserrat Catherine Lacey Estelle Monserrat Elizabeth Ercy Nicole Ian Ogilvy Mike Roscoe Victor Henry Alan Sally Sheridan Ron, the mechanic Meier Tzelniker The Jewish Baker Gerald Campion Customer in China Shop Susan George Audrey Woods Ivor Dean Matalon Peter Fraser Detective George Martin Terry Tobacconist Bill Barnsley Constable in Fur Store Maureen Booth Learn more More Like This.

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The Ghoul The Baronet sings to the accompaniment of a gavotte, and suddenly bursts forth into a rapid semi-quaver passage, expressive of his admiration of the lady.

She follows his example, and while one sings a slow movement the other sings the presto movement alternatively". Both revivals during the composer's lifetime were successful.

The Times called the revival "distinctly a step in the right direction" [66] and in the paper claimed that " The Sorcerer is very far from having exhausted its popularity".

Abounding in tuneful numbers, one or two of which rank with anything that has come from Sir Arthur Sullivan's pen, the orchestration is thin compared with that of his later operas and its melodies have never taken the same popular hold as those of Pinafore , a work of about equal calibre from a musical point of view.

The libretto is sparkling and pungent, and the idea of presenting a British bagman in the guise of a controller of demons and vendor of family curses is as happy a conception as any which has taken form on this modern stage".

Later assessments of the opera have often mentioned both the opera's strong and weak points. Audrey Williamson wrote in a book that the virtues of The Sorcerer , "in spite of its defects The Sorcerer contains two of W.

Gilbert's best-drawn characters, the soulful Dr Daly Sir Arthur Sullivan's music is delightful and guaranteed to weave a magic spell over all those who hear it, if not actually to make them fall instantly in love with their next-door neighbours.

Without those cues what remains is neither as exotic nor as amusing as Pinafore, Pirates or The Mikado. Still, The Sorcerer packs ample charms, including a felicitous score, a Verdian drinking song turned to teetotal ends, and at least one chorus that has reached the periphery of pop culture.

The satire in the opera is focused on old-fashioned customs, pastoral opera conventions, the "popularity of curates, the pose of aristocratic benevolence, and the inebriety of the working man" rather than the broad political satire that would feature in many of the later Savoy opera librettos.

As Gilbert scholar Andrew Crowther explains, Gilbert characteristically combines his criticisms with comic entertainment, which renders them more palatable, while at the same time underlining their truth: "By laughing at a joke you show that you accept its premise.

Wells' speech about blessings being less popular than curses to Mr. The characters in The Sorcerer have family names that characterise them.

Pointdextre is French for dexter point, a heraldic term; Sangazure is French for blue blood. Partlet means hen. Other musical numbers that characterise the opera are the quintet in Act II, "I rejoice that it's decided", which is "one of the prettiest things Sullivan ever wrote in the Mendelssohnian manner Wells and Lady Sangazure there is a divertingly sepulchral andante and a no less comic tarentello-like allegro".

It is the only Savoy opera to require trap, which many modern theatres do not have, [81] and requires a pyrotechnical effect for a flash in the incantation scene.

In addition to Gilbert's story, An Elixir of Love , critics have traced several ideas in the opera to earlier sources.

The concept of a love philtre was widespread in nineteenth century opera, [83] and a philtre that causes people to fall in love with first person who they see is found in Shakespeare's A Midsummer Night's Dream.

Some commentators have argued that the opera's relatively low popularity [87] is due to satire that relies on Victorian era class distinctions; it may not be clear to the modern audience why a baronet cannot marry a pew-opener, while in the Victorian era it was self-evident.

In , E. Dent wrote in reference to The Sorcerer : "It seems as if a course of Mozart in English might be the best preliminary step towards educating our on-coming public to a really intelligent appreciation of Sullivan".

Pinafore satirise the idea of love levelling all ranks, the earlier opera attacks it more aggressively, offending audiences with which that idea was popular.

The opera establishes several important patterns for future Gilbert and Sullivan works. First, several recurring character types that would appear in their later operas are included: a comic baritone character with an autobiographical patter song J.

Wells [91] and a tenor and soprano as young lovers Alexis and Aline. Those types can be traced back to Italian comic opera and commedia dell'arte.

The vicar's song, "Time was when love and I were well acquainted" is one of the first in a string of meditative " Horatian " lyrics in the Savoy operas, "mingling happiness and sadness, an acceptance and a smiling resignation".

One notable innovation that is characteristic of the Gilbert and Sullivan operas, and confirmed by its extensive use in The Sorcerer , is the employment of the chorus as an essential part of the action.

In most earlier operas, burlesques and comedies, the chorus had very little impact on the plot and served mainly as "noise or ornament".

Robertson , was that the costumes and sets were made as realistic as possible. The Sorcerer also contained several musical techniques that would become typical in the operas.

One of the most important ones is the comic baritone's lightly orchestrated, rapid-fire patter song, which would become one of the most distinguishing and popular features of Gilbert and Sullivan operas.

Following Italian opera precedents, such as " Largo al factotum " from The Barber of Seville , these numbers juxtapose virtuosity in their speed of delivery requiring clarity of elocution with their often comic or satiric lyrics.

In "My name is John Wellington Wells", the title character of The Sorcerer introduces himself as a tradesman of an ironic kind: "a dealer in magic and spells".

For example, in the vicar's Act I song, the same melody is sung in each of the two stanzas using the following text:. In the second, the syllable trem has an optional high note to give it a unique character.

Several ideas from The Sorcerer were reused in later Savoy operas. Many images from "Have faith in me" , Aline's cut ballad, are present in "None shall part us" in Iolanthe.

Gilbert initially wrote a duet for Aline and Lady Sangazure, "Oh, why thou art sad, my mother? These numbers were cut before opening night, although the ballad was included in the first published version of the libretto.

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.

The Act I finale was shortened during the original production to omit a reprise of the Brindisi after the "Oh marvellous illusion" chorus, and Constance's Act II song was transposed downwards.

Wells summoned Ahrimanes to be played by Mrs Paul , [] who told him that either he or Alexis must yield his life to quell the spell.

This scene was cut, although its opening recitative in rewritten form was present in the first production. The opera was extensively revised for the revival.

The revision changed the setting to nighttime, with a mysterioso trio for Alexis, Aline and John Wellington Wells to sing among the sleeping villagers.

These revisions were not, however, done very carefully. The following tables show the casts [] of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's closure:.

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 D'Oyly Carte Opera Company recording is considered the best of their efforts to record this opera.

The Brent Walker video is considered to be one of the best of that series and is recommended.

The Sorcerer has made its way into popular culture. Isaac Asimov wrote a short story, " The Up-To-Date Sorcerer ", an homage to the opera consisting largely of a series of puns on phrases from it.

Wodehouse , the title hero sings a fragment from Dr Daly's ballad and characterises his nephew as "the sort of young curate who seems to have been so common in the 'eighties, or whenever it was that Gilbert wrote The Sorcerer.

From Wikipedia, the free encyclopedia. This article is about the 19th century opera. For other uses, see Sorcerer.

See also: Magician fantasy. Main article: Cultural influence of Gilbert and Sullivan. See Bradley , p. However, she continued performing under this name, often humorously impersonating the famous tenor Sims Reeves.

See Barringon, p. In his talk on The Sorcerer , broadcast on 1 October , he stated that the keys were lowered to accommodate Bond. Ryley was Wells.

Theatre programmes of The Sorcerer with details on exhibition at the C20th. Melbourne Age , 24 May and Argus , 24 May The new production was directed by Michael Heyland and had new costume and set designs by Osbert Lancaster.

The New York Times , 15 October , p. See the company's Diary of Performances , accessed 22 August See, e. Who Knew? Monthly Musical Record , 1 January , p.

In Clement Scott ed. The Theatre. Strand Publishing Company. Retrieved 28 August Punch , 16 March , p. Sir William S. Gilbert: A Study in Modern Satire.

Boston: Stradford Publishing Co. This site contains biographies of the persons listed in these tables.

Meet Mr. London: H. In the episode, Peter goes to England to play for an American football team called the London Silly Nannies, who practice by prancing around a maypole singing "If you'll marry me".

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The Sorcerer Video

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