For many years, the only piece that most opera lovers knew from Lakme was the Bell song. When British Airways introduced a new advertisment using the Act 1 duet between Lakme and Malika, the opera gained a new audience. The reissue of highlights from this 1967 recording with Joan Sutherland in the title role is an excellent way for the average ...
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. ...
This 1955 EMI recording of Le nozze di Figaro from the Glyndebourne Festival is deservedly a legendary account of the opera. Vittorio Gui's reading of the score is essentially conventional, in the best sense -- he avoids imposing interpretive eccentricities, and he allows the music and the drama to unfold naturally, while remaining constantly ...
Cut as it is -- and most of its recitatives are gone -- and as old as it is -- and it dates from the summer of 1955 -- this recording of Mozart's Le nozze di Figaro is nevertheless utterly delightful. Part of the reason is the conducting. Though Italian conductor Vittorio Gui never quite hit the international big time like his countrymen Cantelli ...
Beecham was in love -- deeply, passionately, recklessly in love -- with Haydn, Mozart, and Beethoven. His recordings of the Viennese classical masters are testimonies to his love: affectionate, powerful, persuasive, and often affecting performances that love neither too wisely nor too well but with unrestrained enthusiasm and unrelenting energy. ...
This 1955 EMI recording of Le nozze di Figaro from the Glyndebourne Festival is deservedly a legendary account of the opera. Vittorio Gui's reading of the score is essentially conventional, in the best sense -- he avoids imposing interpretive eccentricities, and he allows the music and the drama to unfold naturally, while remaining constantly ...
Anyone who loves Tippett's The Midsummer Marriage should try to hear this two-disc set. Whether they'll make it all the way through is another matter. For those who adore the opera's joyful lyricism, its dancing rhythms, and its brilliant orchestrations, the chance to hear a live broadcast recording of the work's premiere at Covent Garden in 1955 ...
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 ...
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 ...
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