When Thomas Beecham died and went to heaven, he no doubt took God aside and said to Him, "Look here Old Boy, You have done a dashed fine job of creating time and space and so on and so forth. But, I say, listen to my recording of The Seasons: nearly as fine as the real thing, don't you think?" And no doubt the Almighty agreed with Beecham: his The ...
Malcolm Sargent began serving as an accompanist for amateur productions of Gilbert & Sullivan when he was 14, was musical director for the D'Oyly Carte Opera Company from 1926 to 1928, and made complete recordings of several of the operettas with the company, so he clearly had the Gilbert & Sullivan tradition in his blood. During the late '50s and ...
Malcolm Sargent was at one time the musical director of the D'Oyly Carte Opera Company, so he brings real authority to this 1956 recording of The Mikado, made with the Glyndebourne Festival Chorus and the Pro Arte Orchestra. The clarity of his conducting makes the score sparkle and brings out felicities of orchestration that are too often lost. ...
Malcolm Sargent recorded 10 Gilbert and Sullivan operettas in productions based on performances at the Glyndebourne Festival in the late '50s and early '60s, and this version of H.M.S. Pinafore is among his most successful efforts. Sargent's reading is notable for its typically nuanced attention to details of the score, and the performances by his ...
Of all the hundreds, maybe thousands of versions of Handel's Messiah on the market, ranging from full symphonic treatments with big professional choirs to sober, earnest oratorio-society readings, to the various kinds of authentic-performance recordings, this 1959 performance by the Royal Liverpool Philharmonic Orchestra and Huddersfield Choral ...
The performances in this box constitute the highest achievement of Thomas Beecham with the Royal Philharmonic Orchestra. Though his many EMI/Columbia recordings of the standard and not so standard repertoire were among the finest of their time, Beecham's Haydn was and remains special. All Beecham's best qualities are in his Haydn -- suave phrasing ...
Iolanthe has never achieved quite the place in the popular imagination that H.M.S. Pinafore, The Pirates of Penzance, and The Mikado have, but musically and dramatically it's one of Gilbert and Sullivan's most musically and dramatically integrated operettas. Sullivan's score is even more than usually tuneful, and his orchestration is particularly ...
Malcolm Sargent served as musical director for he D'Oyly Carte Opera Company from 1926 to 1928 so he was well familiar with the Gilbert and Sullivan tradition. His recordings of the operettas from productions at Glyndebourne during the late '50s and early '60s have very high musical standards, both in the quality of the vocal soloists and the ...
Malcolm Sargent served as an accompanist for amateur productions of Gilbert & Sullivan beginning when he was 14, was musical director for the D'Oyly Carte Opera Company from 1926 to 1928, and made complete recordings of several of the operettas with the company during that period, so he clearly had the Gilbert & Sullivan tradition in his blood. ...
Malcolm Sargent served as an accompanist for amateur productions of Gilbert and Sullivan beginning when he was 14, was musical director for the D'Oyly Carte Opera Company from 1926 to 1928, and made complete recordings of several of the operettas with the company during that period, so he clearly had the Gilbert and Sullivan tradition in his blood ...
Early in his career, Malcolm Sargent was musical director of the D'Oyly Carte Opera, so the spirit of Gilbert and Sullivan operettas was in his blood, and with that company he made the first complete recording of The Yeoman of the Guard in 1928. Thirty years later, he made his second (of three versions) based on a Glyndebourne production featuring ...
Malcolm Sargent recorded nine Gilbert and Sullivan operettas in productions based on performances at the Glyndebourne Festival in the late '50s and early '60s, and this version of H.M.S. Pinafore is among his most successful efforts. Sargent's reading is notable for its typically nuanced attention to details of the score, and the performances by ...
Coming after the huge success of The Mikado, it was almost inevitable that the premiere of Gilbert and Sullivan's Ruddigore would fall short of the original audience's elevated expectations. It has never taken a place as one of the public's favorite Gilbert and Sullivan operettas, perhaps because of an ending that isn't fully realized. In spite of ...
Early in his career, Malcolm Sargent was musical director of the D'Oyly Carte Opera, so the spirit of Gilbert and Sullivan operettas was in his blood, and with that company he made the first complete recording of The Yeoman of the Guard in 1928. Thirty years later, he made his second (of three versions) based on a Glyndebourne production featuring ...
Back again, it's John Barbirolli's classic 1962 recording of Vaughan Williams' Fifth Symphony. This time, however, it's not alone as it was on LPs in the sixties and seventies or coupled with Barbirolli's equally ecstatic 1965 recording of Arnold Bax's Tintagel as it was on its initial CD release in the eighties and nineties, but rather joined by ...
This version of The Gondoliers is one of nine recordings of the most popular Gilbert and Sullivan operettas that Malcolm Sargent made in the late '50s and early '60s with the chorus of the Glyndebourne Festival and the Pro Arte Orchestra. Sargent's conducting and the orchestra's playing are unfailingly graceful and gently witty. The Gondoliers is ...
Malcolm Sargent served as musical director for he D'Oyly Carte Opera Company from 1926 to 1928 so he was well familiar with the Gilbert and Sullivan tradition. His recordings of the operettas from productions at Glyndebourne during the late '50s and early '60s have very high musical standards, both in the quality of the vocal soloists and the ...
Iolanthe has never achieved quite the place in the popular imagination that H.M.S. Pinafore, The Pirates of Penzance, and The Mikado have, but musically and dramatically it's one of Gilbert and Sullivan's most musically and dramatically integrated operettas. Sullivan's score is even more than usually tuneful, and his orchestration is particularly ...
Malcolm Sargent was music director of the D'Oyly Carte Company in the 1920s, so he brings real authority to recordings of the Gilbert and Sullivan operettas from productions at the Glyndebourne Festival in the late '50s and early '60s. The Pirates of Penzance includes some of Sullivan's best work. It not only tweaks the conventions of grand opera, ...
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