Sir Arthur SULLIVAN (1840-1900)
The Mikado - Comic Opera in Two Acts [86:36]
Overtures: The Pirates of Penzance [7:00]; HMS Pinafore [3:46];
Iolanthe [6:59]; Pineapple Poll - Ballet (arr. Sir Charles Mackerras)
[42:30]
The Mikado – The Mikado – Donald Adams (bass); Nanki-Poo – Thomas Round
(tenor); Ko-Ko – Peter Pratt (baritone); Pooh-Bah – Kenneth Sandford (baritone);
Pish-Tush – Alan Styler (baritone); Go-To – Owen Grundy (baritone); Yum-Yum
– Jean Hindmarsh (soprano); Pitti-Sing – Beryl Dixon (mezzo); Peep-Bo – Jennifer
Toye (soprano); Katisha – Ann Drummond-Grant (alto);
Chorus of the D’Oyly Carte Opera Company
New Symphony Orchestra of London/Isidore Godfrey (conductor)
Overtures – Boston Promenade Orchestra/Arthur Fiedler; Pineapple
Poll – Pro Arte Orchestra/John Hollingsworth
rec. October 1957, Kingsway Hall (The Mikado), 1952 (Overtures),
1958 (Pineapple Poll):
Synopses included but no text
MAGDALEN METCD 8002 [73:33 + 73:31]
The first nearly complete recording of The Mikado was made in 1906,
followed quickly by another in 1907. It was ten years before the D’Oyly Carte
Company made its first version, but after this, at regular intervals, other
productions were issued right up to the company’s demise as a performing entity.
The 1973 version with John Reed is probably the best known, followed by those
of 1950 and 1936, both with Martyn Green (it’s usually simplest to refer to
sets by the artist singing Ko-Ko) although for many, including me, the 1926
version with Henry Lytton is by some way the best. The present version by
comparison with all of these is frequently overlooked, and I believe has only
been issued on CD by the now inactive Sounds on CD company. This makes
the present issue particularly welcome as it has many features which make
it worth hearing, even if you already have one or more versions already.
A quick look at the cast immediately makes clear that this is likely to be
a version of considerable interest. The names of Donald Adams and Thomas Round
would be sufficient recommendation in themselves, and their performances are
indeed all you would expect. The pleasure of hearing singers in this music
who have both the voice and an understanding of the style is considerable.
Like almost all on this set their diction is admirably clear but at the same
time free of the prissiness which affected earlier D’Oyly Carte versions.
I have never understood why Peter Pratt is not rated higher amongst enthusiasts.
His Ko-Ko may be less knowing than most, more obviously the cheap tailor,
with a quick wit but well out of his depth. The ladies are all good and the
only disappointment for me was Kenneth Sandford whose Pooh-Bah lacks the pomposity
essential for the role. Isidore Godfrey is on splendid form with a much better
– and much better recorded – chorus and orchestra than he had been allowed
in his earlier versions. The recording is clearly not modern but does not
sound to be anything like half a century old. It is perfectly acceptable unless
you insist on something wholly up to date; in which case you will also be
denying yourself the immense pleasure of listening to the even better performed
1926 version. It will be very much a matter of individual preference as to
how you rate the present version compared with those by Mackerras and other
non-D’Oyly Carte productions, but this must surely be amongst the best now
available.
The extras are interesting if unlikely to be decisive. The Overtures are neatly
played but without any special merits, and whilst it is interesting to hear
Pineapple Poll conducted by other than its arranger, the rival version
on Naxos by David Lloyd-Jones is much better as a performance and as a recording.
It is nonetheless good to have these additional items. The synopsis is clear
although no text is included, and there are interesting notes on the performers.
The back cover of the booklet states that Magdalen’s “motivation comes from
a collector’s wish to share some of the glorious recordings which remain in
the memory”. Indeed the presentation and choice of items does feel in some
ways like being with an enthusiast who draws records from his shelves asking
if you have heard them and insisting on playing them. The transfers are not
especially noteworthy and the result is broadly comparable with my memories
of hearing the originals rather than any great improvement on them. There
is nonetheless plenty to enjoy here, and I look forward to further releases
from Magdalen, including, I gather, the 1957 version of The Pirates of
Penzance – another real delight.
John Sheppard
There is plenty to enjoy here.