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HH 0176
SULLIVAN: Mikado (The) (D'Oyly Carte) (1950)

SULLIVAN: Mikado (The) (D'Oyly Carte) (1950)

The Classical Shop
release date: March 2013

Originally recorded in 2001

Artists:

New Promenade Orchestra


Godfrey, Isidore


Alan Styler

Soloist

Ella Hallman

Soloist

Isidore Godfrey

Soloist

Joan Gillingham

Soloist

Joyce Wright

Soloist

Leonard Osborn

Soloist

Margaret Mitchell

Soloist

Martyn Green

Soloist

Richard Watson

Soloist

D'Oyly Carte Opera Chorus



Venue:

London



Record Label
Naxos

Genre:

Opera


Classical

Total Time - 82:44
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SULLIVAN: Mikado (The) (D'Oyly Carte) (1950)

     
     
 

ARTHUR SULLIVAN



Select Complete Single Disc for
 

The Mikado

 
1 Act I: Overture 7:38
 Leonard Osborn Soloist
     
2 Act I: If you want to know who we are (Chorus of Nobles) 2:19
 Richard Watson Soloist
     
3 Act I: Recitative: Gentlemen, I pray you (Nanki-Poo) 0:42
 Richard Watson Soloist
     
 

W.S GILBERT

4 Act I: A Wand'ring Minstrel I (Nanki-Poo, Chorus) 4:29
 Martyn Green Soloist
     
 

ARTHUR SULLIVAN

5 Act I: Our great Mikado, virtuous man (Pish-Tush, Chorus) 2:48
 Richard Watson Soloist
     
6 Act I: Young Man, Despair (Pooh-Bah. Nanki-Poo, Pish-Tush) 2:39
 Richard Watson Soloist
     
7 Act I: Recitative: And have I journeyed for a month (Nanki-Poo, Pooh-Bah) 0:55
 Richard Watson Soloist
     
8 Act I: Behold the Lord High Executioner - Taken from a country jail (Chorus of Nobles, Ko-Ko) 2:13
 Richard Watson Soloist
     
 

W.S GILBERT

9 Act I: As some day it may happen (Ko-Ko, Chorus of Men) 2:02
 Isidore Godfrey Soloist
     
 

ARTHUR SULLIVAN

10 Act I: Comes a train of little ladies (Chorus of Girls) 2:11
 Martyn Green Soloist
     
 

W.S GILBERT

11 Act I: Three little maids from school (Yum-Yum, Peep-Bo, Pitti-Sing, Chorus of Girls) 1:28
 Richard Watson Soloist
     
 

ARTHUR SULLIVAN

12 Act I: So please you sir, we much regret (Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah) 1:52
 Richard Watson Soloist
     
13 Act I: Were you not to Ko-Ko plighted (Yum-Yum, Nanki-Poo) 2:23
 Martyn Green Soloist
     
14 Act I: I am so proud (Pooh-Bah, Ko-Ko, Pish-Tush) 2:43
 Martyn Green Soloist
     
 

W.S GILBERT

15 Act I: Finale (Chorus, Pooh-Bah, Pish-Tush, Yum-Yum, Peep-Bo, Pitti-Sing, Ko-Ko, Katisha, Ensemble) 12:51
 Margaret Mitchell Soloist
     
     


Select Complete Single Disc for
     
     
1 Act II: Braid the raven hair (Pitti-Sing, Chorus of Girls) 3:20
 Joyce Wright Soloist
     
 

ARTHUR SULLIVAN

2 Act II: The sun whose rays are all ablaze (Yum-Yum) 2:33
 Richard Watson Soloist
     
 

W.S GILBERT

3 Act II: Brightly dawns our wedding day (Yum-Yum, Pitti Sing, Nanki-Poo, Pish-Tush) 3:55
 Joan Gillingham Soloist
     
 

ARTHUR SULLIVAN

4 Act II: Here's a how-de-do! (Yum-Yum, Nanki-Poo, Ko-Ko) 1:10
 Leonard Osborn Soloist
     
5 Act II: Miya Sama, "March of the Mikado's Troops" (Chorus) 1:06
 Richard Watson Soloist
     
6 Act II: From every kind of man (Mikado, Katisha) 1:49
 Alan Styler Soloist
     
7 Act II: A more humane Mikado - My object all sublime (Mikado, Chorus) 4:08
 Joan Gillingham Soloist
     
 

W.S GILBERT

8 Act II: The criminal cried, as he dropped him down (Ko-Ko, Pitti-Sing, Pooh-Bah, Chorus) 3:16
 Richard Watson Soloist
     
 

ARTHUR SULLIVAN

9 Act II: See how the fates their gifts allot (Mikado, Pitti-Sing, Katisha, Ko-Ko, Pooh-Bah) 2:09
 Joan Gillingham Soloist
     
10 Act II: The flowers that bloom in the spring (Nanki-Poo, Ko-Ko, Yum-Yum, Pitti-Sing, Pooh-Bah) 1:23
 Joyce Wright Soloist
     
 

W.S GILBERT

11 Act II: Alone and yet alive - Hearts do not break (Katisha) 2:17
 Richard Watson Soloist
     
12 Act II: On a tree by a river, "Willow titwillow" (Ko-Ko) 2:28
 Isidore Godfrey Soloist
     
 

ARTHUR SULLIVAN

13 Act II: There is beauty in the bellow of the blast (Katisha, Ko-Ko) 2:02
 Ella Hallman Soloist
     
14 Act II: Finale (Entire Company) 1:55
 Ella Hallman Soloist
 Godfrey, Isidore


THE MIKADO
 
"The Mikado …the glorious little Japanese opera…"
 
Such was the evaluation of the 1885 Gilbert and Sullivan masterpiece by the distinguished music critic and voice teacher Herman Klein (1856-1934) in his 1925 book of reminiscences. As Arthur Jacobs reminds us, however, in his Arthur Sullivan - A Victorian Musician, 1986, the Mikado is really in every respect as English as it could possibly be, its pseudo-Japanese, willow-plate exterior merely a comic mask, a picturesque painted screen to camouflage and soften Gilbert’s trenchant satire on English social mores.
 
Exotic Japan was a popular concept of late Romanticism and the contemporary London vogue for things Japanese included the designs of the Aesthetics popularised by Liberty’s as well as a ‘Japanese Village’ exhibition held in Knightsbridge during early 1885. William Gilbert (1836-1911) and Sir Arthur Sullivan (1842-1900) had already staged successful operetta seasons in the capital under the management of Richard D’Oyly Carte (1844-1901). Beginning with Trial By Jury, commissioned for the Royalty Theatre in 1875, these also included, for the Opera-Comique, The Sorcerer (1877) and HMS Pinafore (1878). It was this last that also established the transatlantic reputation of Gilbert and Sullivan. First performed on 14th March, 1885, at the Savoy, the West End theatre D’Oyly Carte had meanwhile built in 1881 and which had, the previous year, seen the first performance of Princess Ida, The Mikado, under the composer’s baton, ran for 672 performances. Its world record initial run, which remained unbroken by any Gilbert and Sullivan production until a Broadway revival of Pirates of Penzance in 1981, has since been underlined by the operetta’s undying international popularity. Twice filmed in Great Britain, in 1939 and in 1966, well over a century later it is as popular as ever, certainly by far the most popular of all Gilbert and Sullivan collaborations and, in the opinion of many experts, their finest score.
 
Several recorded versions were made on 78s, the first complete edition being an acoustic of 1918, "recorded under the personal supervision of Rupert D’Oyly Carte", in which the principal rôles were taken by HMV’s regular opera singers, including Robert Radford, Edna Thornton and John Harrison. Among various later, electrically recorded versions, one by HMV, made in 1926, starred Darrell Fancourt and featured Henry Lytton, Bertha Lewis, Derek Oldham, Leo Sheffield and other noted Savoyards in their time-honoured rôles. This re-mastered version of 1950, featuring the New Promenade Orchestra under Isidore Godfrey, who joined D’Oyly Carte in 1925 and was the Company’s Musical Director from 1929 to 1968, was sonically ahead of its time. Early Hi-Fi, it was a Decca FFRR (Full Frequency Range Recording).
"Isidore Godfrey was an experienced hand ad D’Oyly Carte and conducts expertly. David Lennick’s transfer is a good one... My highest recommendation."
 
James Camner - Fanfare - February 2002

"Older collectors, including myself, will welcome the 1950 D’Oyly Carte Mikado with a tinge of nostalgic recognition. Believe it or not, my elementary school music library actually owned this recording, and I vividly remember borrowing it. David Lennick’s transfer appears to stem from an excellently preserved LP copy. Surface noise is virtually eradicated, but arguably at the expense of top end transients. Patches of distortion at louder moments come and go with little consequence. As often the case with Decca’s early mono opera sets, the voices dominate to the point of covering the orchestra. The advantage, of course, is that most of the words are clear, no matter how fast Isidore Godfrey’s tempos may be ("Behold the Lord High Executioner" for example). It’s always fun to hear Ko-Ko come to irrepressible life through the legendary Martyn Green’s singular character voice. In the ’Three Little Maids’ trio Margaret Mitchell, Joan Gillingham, and Joyce Wright manage to come off dowdy and sparkling at the same time. The other principals, Darrell Fancourt in the title role, Leonard Osborne as Nanki-Poo, and Richard Watson as Pooh-Bah, are essentially actors who sing very well, and in impeccable Savoyard style."
 
Jed Distler - ClassicsToday.com - October 2001
 

"The performance reflects the terribly British accents and tones that have all but disappeared from G&S these days...Thanks to Godfrey, it certainly is a swift version, for those who like their G&S rapid fire."
 
Traubner - American Record Guide - February 2002
 



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