Customer Reviews

Gilbert & Sullivan: The Mikado

5 star:		(13)
4 star:		(3)
3 star:		(6)
2 star:		(0)
1 star:		(0)

 

 

First of all, this entire presentation fits onto a single CD, so you are paying 1/2 the price for starters. To make this happen, the producers have dropped the overture (which is one of the series' weakest and not even by Sullivan) and one stanza of Ko-Ko's "Little List" song. There are also a few bars missing from the Act I finale, but I cannot understand why. The voices are generally excellent, the conducting lively and completely in keeping with the joyous mood of this operetta (that is concerned with decapitation, boiling in oil, hanging, being buried alive, and other punishments that fit the crime). This is definitely <The Mikado> of choice--unless you insist on absolute completeness.

With this groundbreaking entry in the new Mackerras series, we are drawn into a new and fruitful era of Gilbert and Sullivan recordings. Mackerras devotes himself fully to the cause of Gilbert and Sullivan, and with a flick of his baton before the Welsh National Opera forces, he produces delicious results, even from his starry, inspired, first-rate singers. Donald Adams is on top form and in his element in his solid, satanic and memorably cheerfully-positive portrayal of the eponymous comical tyrannical autocrat. It is really amazing how he has managed to maintain his touch with the role since he recorded the role for D'Oyly Carte thirty years before contributing to this recording, because he still manages to maintain his inimitable style. As his son, Nanki-Poo, Anthony Rolfe Johnson uses his Lieder-singing experience to give a lyrical touch to the role and a romantic edge common in Marie McLaughlin's petite Yum-Yum. The rest of the major cast use their experience of English National Opera MIKADO days to shine themselves, with Richard Suart's Koko a defining highlight. Suart gives a delectably comical, dry-timbred and attractively humane portrayal of the Lord High Executioner, and the freshness in his voice manages to give John Reed a run for his money. (Remember that Suart was with D'Oyly Carte at the time, so he must have improved on his portrayal there.) Richard van Allan gives Pooh-bah a haughty edge, and Felicity Palmer's Katisha is commanding, comical and satirical. The minor cast is as supportive as the chorus, and Mackerras conducts with more delectable skill and wit than Godfrey, judging tempi perfectly except in the Little List song which is a little too slow. The overall effect is more vuluptuous than any other available recording, even D'Oyly Carte's, and with Telarc's first-rate digital recording nobody can ever go wrong with this Mikado (or rather the whole series.)

This recording of MIKADO is not absolutely complete, but don't let this deter you from purchasing it. There are no instrumental movements - overture and fanfare - with the sung text absolutely complete, save for a cut of a few minor bars in the Act One finale and the second verse of Koko's little list song. That second verse uses the six-letter colour-related N-word that is as offensive to blacks as the four-letter sex-related F-word is to us. But I don't think it matters as in performance the Koko always uses a clever substitution of the word.

I'm with "Bunthorne" on this one. As we all know, "Hey Diddle Diddle would rank as an idyll if he pronounced it chaste" (and if you don't get the reference, you need to bone up on your G&S, so definitely buy this album, and maybe some others!). As a general rule, Gilbert and Sullivan operettas are performed by good comic actors with decent, but not top-notch, singing voices, and women's arias in particular are strangled by what the great Anna Russell described as the "piercing British soprano." So it's a real joy to hear Sullivan's lovely, infectious melodies sung by a cast of consistently excellent singers with operatic as well as operetta experience. Felicity Palmer was a special treat as Katisha; it's easy to forget that although the role was supposed to be comic, it was also written for a fine mezzo, and Sullivan graced her with a couple of beautiful arias. I didn't notice the poor diction that one reviewer complained about, but perhaps that's because I know the lyrics already. Fortunately, a full libretto is enclosed, which makes it easy for the novice to follow along.

The musicianship on this recording is first rate. The singing, especially Richard Stuart as Ko-Ko, is quite good. Donald Adams brings just the right tone of vilany to his portrayl of the mikado, although his cackle is a bit odd. But I can't help but feel that some injudicious editing leaves this recording incomplete. The opening overture is gone, and ko-ko's tremendously witty little list song has been viciously slaughtered. True, in the original text Sullivan included an offensive term to African americans. But ever since 1948 the opera companies have put in a very witty substitute. So I can't see a reason for chopping what I believe is the high point of Act I. To cut this song is as egregious an act as cutting the Mikado's song in Act II, which Sullivan actually toyed with and then mercifully abandoned at the request of the opera chorus. So therefore I must recommend waiting around for a better and unedited recording to appear.

The Mackerras version of Gilbert and Sullivan's Mikado does have talented performers, just as some other reviewers have stated. However, an analysis of just one song will show what is wrong with this version. In the song "Three little maids from school are we," it is sung as if it were a serious piece of music, rather than a delightful comedy. The singers are obviously not "Filled to the brim with girlish glee," or even womanly glee, which brings us to the other major flaw. Do you remember how Hollywood used to have actresses who were 35 or so play the parts of teenage girls? Do you remember how unbelievable it is? The same is true here. The women singing the parts of the three girls are obviously too old for the parts. If you want a delightful piece of music performed in a stodgy and inappropriate way, this is for you. Otherwise, I would look elsewhere (I am still looking myself).

This is by far the best recording of The Mikado made since 1928. Yes, it has been shortened a bit by omitting the Overture and removing one verse of the "List" song. But the Overture wasn't even written by Sullivan, so you're not missing that much.

The reason this performance is so wonderful is that it harkens back to the original tempi and spirit of the old D'Oyly Carte Company. If you listen (as I have) to all of the famous recordings of The Mikado, you will notice that, over time, The Mikado has become stodgy. What started as a light, fun, musical entertainment has been transformed into "classical music." This is a shame, because the piece is so much fun.

Sir Charles Mackerras has not only re-invigorated The Mikado, he has dug deeply into the score and found many examples of Sir Arthur Sullivan's wit and skill that are missed by most conductors. His rendition of the madrigal is particularly charming.

Speaking as a man who is about to conduct this wonderful work himself, I whole-heartedly recommend you buy it and give it a careful listen.

It was with relief that G&S fans were greeted with a superlative company performing one of the Savoy Operas, in 1993. Sir Charles Mackerras, the composer of Pineapple Poll, a ballet using the music of Sir Arthur Sullivan, whipped up the WNO to brilliance! Every principal is superb, with particular inclusion of the late Donald Adams, former principal bass with the D'Oyly Carte Opera (1953-1969). This is was his finest hour! After 40 years of performing this role, he 'turned in' a deliciously evil, tinged with humour, Mikado. The chorus are superlative, tightly held and sumptuous in sound. This is, with out doubt the finest of Gilbert and Sullivan. Catch if you can the same ensemble, except for some principal changes, in HMS Pinafore, Pirates of Penzance, Yeoman of the Guard - Trial by Jury. They have not been beaten, yet! Felicity Palmer is a superb Katisha, together with Richard Suart as Ko-Ko, at last a 'patter' singer with quality voice production and excellent diction. Treasure this recording for the superb quality it offers.

This CD is perhaps the best recording of the Mikaado I have ever heard! For the price, it is a great value and out of all the CD's available is definitely the best buy in total, and for the money. The only difference between this CD and the other more expensive types are that it lacks the Overture and has a different way of breaking up the song. This version has the Act One Finale, "With Aspect Stern, and Gloomy Stride" condensed into one 11 minute track while the more expensive version cuts it up into may small parts. Personally, I like the 11 minute version better. In other words, if you don't mind missing the Overture then this is the CD for you.

--Gilbert & Sullivan--
William Gilbert and Arthur Sullivan were a match made in heaven, yet on earth their pairing seems even with hindsight a most unlikely coupling. Both were destined for other things, Gilbert in fact for decidedly non-musical careers. Introduced by a mutual friend, Fred Clay, the fledgling lyricist Gilbert met the military-band-leader's son Sullivan and together continued to conspire to inspire the delights of audiences from high Victorian times down to the present, as their work in musical theatre comedy continues to provide merriment throughout the English-speaking world and beyond.

--The Music--
This collection includes most of the 'opera' of The Mikado. The recordings on this collection come from complete performances by Mackerras and the WNO. The Mikado is one of Gilbert & Sullivan's most enduring and endearing pieces. It has warmth and humour as well as the typical Gilbert & Sullivan wit and satire, and is also one of the G&S productions that translates well in to other languages. The performances here are superb, and the only drawback is the few deletions required to get the performance to fit on one CD.

--Sir Charles Mackerras--
Mackerras is one of the geniuses of the twentieth century musical scene. Having a conducting career that includes the Hamburg Opera, the English National Opera (formerly Sadlers Wells Opera), and the Welsh National Opera (the performers for this piece), he has also conducted major orchestras on the continent of Europe and in the United States. The holder of many major awards and honourary doctorates, he has devoted much time and energy to the preservation and performance of eighteenth and nineteenth century music, as well the restoration of historical musical venues, such as the Estates Theatre in Prague, scene of the original production of Don Giovanni (Mackerras conducted the opera there to commemorate the bicentenary of the death of Mozart).

--Welsh National Opera Orchestra and Chorus--
The seeds of the WNO were planted in Cardiff during World War II by music lovers; the first performances occurred a year after the war's end, with Cavalleria rusticana and Pagliacci on the bill, with Faust the next night. Popular appeal was so great that the WNO was established, later adding choruses in both Cardiff and Swansea. The professional chorus was established in 1973, with a strength that matches the orchestra. They continue an ambitious performance schedule for recording and live events; Mackerras remains the Conductor Emeritus, as the WNO continues under the direction of Carlo Rizzi. The list of awards the WNO has won over the years is staggering - they are a world class institution by any measure.

--Other performers--
Notable singers such as Richard Stuart, Anthony Rolfe Johnson, Nicholas Folwell, Marie McLaughlin, Anne Howells and Janice Watson fill out the players on this disc. Several are frequent performers with Mackerras and the WNO (for example, Stuart plays Porter on their production of the 'HMS Pinafore').

--Liner Notes--
The liner notes give a good introduction and biographical information about Gilbert and Sullivan, as well a synposis of the opera, and a bit of historical background. It does not, unfortunately, include any information about Mackerras, the WNO Orchestra and Chorus, or the other special performers.

--Overall Impressions--
I play this CD in my car, in my home and in my office frequently. It is a great sing-along work and a great comedic relief from the stresses of the day. The music is bubbly and clear; the recording quality is excellent and crisp. I recommend this to any Gilbert & Sullivan lover, any fan of musical comedy, opera and operettas, and anyone who delights in good music.

Please note: I'm no expert in G & S, let alone light opera. Still, I grew up with "The Mikado," as my parents are big fans. The version I recall from childhood (one of the D'Oyly Carte recordings) perhaps influences me too much when I complain of the lack of punch, bite, and general emotion in the singing here. The singing is indeed beautiful, but is that what you really want from "The Mikado"? If it is, this is your recording for sure. If not, go for D'Oyly Carte. If you're on the fence, the quality of this modern recording might again make this right for you. Perhaps we owe it to G & S to buy *several* versions.