This is a reissue of a very well-performed and fun-filled recording from 1968 by the D'Oyly Carte Opera Company, which includes the dialog. The cast and chorus bring out the humor of the operetta by taking their parts seriously. The dialog is not delivered with the singsong, exaggerated sentiment found in some of the other D'Oyly Carte recordings. ...
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 ...
Decca is to be commended for reissuing the original 1959 recording of Peter Grimes, conducted by the composer and starring Peter Pears, who created the role. There have been a number of subsequent recordings of the opera, but this one, both as a document of the composer's intentions, and on its own musical merit, remains essential for any Britten ...
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 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. ...
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 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 ...
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 ...
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 ...
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 ...
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, ...
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 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. ...
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