Customer Reviews

Gilbert & Sullivan: The Mikado

5 star:		(3)
4 star:		(2)
3 star:		(7)
2 star:		(1)
1 star:		(0)

 

 

Over the years D'Oyly Carte have recorded numerous versions of the The Mikado. Although pleasantly precise in recorded sound, I feel that the overall performances by the cast of the 1973 company were losing impact and freshness. The success of the recording lies in the conducting by Royston Nash, formerly connected with a musical background in the Royal Marines. This musical discipline certainly 'pays-off', but the company was long past its best and in near decline. John Reed as Ko-Ko is too measured, especially in comparison with seeing him in performance. Kenneth Sandford was infinitely superior in the 1958 recording, Decca. The voice is obviously tired and being the doyen of the company ought to have been succeeded by a more youthful sounding performance. There were plenty within the company who had performed the part and were superb in the role. Two major disappointments are Colin Wright as Nanki-Poo and John Ayldon in the title role. The tenor cannot match the lyricism of Philip Potter or Thomas Round, while the bass, John Ayldon is poor in comparison with Donald Adams (1958 and 1993) and Darrell Fancourt (1950), both earlier exponents of the part. It remains for me to state that if you, on hearng the recording enjoy it, fine, but the best of Gilbert and Sullivan is certainly not this.

though the music on this CD is quite good, I found that the recording lacked the dialog of the play. This seems odd given that the other D'Oyly Carte recordings include them. The fact that this is not mentioned in any of the blurbs at amazon nor even on the label itself leaves me curious and not a little annoyed, as the dialog is as important to the operetta as the musical numbers.

This D'Oyly Carte stereo remake of The Mikado, though praised as a "complete success" by the Penguin Guide, is actually a weaker performance than expected. As a matter of fact, it tends to lose its freshness after repeated listenings, and it captured the Company in its duldrums before its reformation in the 1980s. John Ayldon's portrayal of the eponymous title character seems to lack the satanic glitter immortalised in Donald Adams' portrayal of the 1958 set, and the former's portrayal is not a truly three-dimensional portrayal. The two lovers fare better, despite Colin Wright's not-so-good Nanki-Poo, which cannot match Thomas Round's famous portrayal. The selling star, John Reed, is a good Ko-Ko, but his voice has lost the freshness it once was, and so has Kenneth Sandford's Pooh-Bah. Valerie Masterson's Yum-Yum is one of the better points of the recording, as her voice is like ear-candy, and Lyndsie Holland's Katisha is as commanding as, if not better than Anne Drummond-Grant. The orchestra and chorus do an excellent job in supporting the singers, despite some slightly poorly-chosen tempi, and the sound on this remastered version is slightly dryish. Overall, I'm not really prepared to recommend this awfully strongly, and I would suggest waiting for Decca (Polygram) to re-release its first stereo D'Oyly Carte Mikado on CD. Still, this is a slightly easy performance with which to live.

Reading reviews of those who have listened to all of the various MIKADO recordings, it is evident that they boil down to each listener's personal tastes. I personally have found this recording to be the best, with a few slight drawbacks. The choral numbers and orchestration are clear and loud. The pacing is consistently excellent--at times, appropriately breakneck--unlike the Sargent recording which many have said is too slow (I agree). And this CD features arguably the best Yum-Yum, Valerie Masterson, who's rendition of "The Sun Whose Rays Are All Ablaze" is simply gorgeous. As Ko-Ko, John Reed is also first rate, and Pooh-Bah, Pish-Tush, and Peep-Bo are all well-sung. Pitti-Sing and the Mikado are only good compared to the brilliance of her fellow performers. Nanki-Poo also leaves something to be desired, however, and Katisha is the weakest in the cast, unfortunately making her very beautiful song, "Hearts Do Not Break," less powerful than it might have been. Either way, this is overall the best recording of this masterpiece I have heard and I was pleased to discover it. The music of THE MIKADO itself is pure perfection. However, listen around and decide for yourself...apparently, no one seems to have agreed on a definitive recording.

I first bought this recording on vinyl about 16 years ago. I loved it then, and I certainly love it now.

I was recently cast in a production of The Mikado, so I thought I'd better have a CD of it for reference. I can scarcely describe just how wonderful it was to hear the definitive D'Oyly Carte company once more. The cast are not only excellent singers, but remarkable actors/actresses as well. The humor of each and every character comes brilliantly through, and on more than one occasion, I found myself laughing out loud at these wonderful characters that I once knew very well indeed. I cannot tell you how much I am looking forward to becoming reacquainted with them!

For historical accuracy, and marvelous performances that you won't soon forget, the D'Oyly Carte recordings of The Mikado, or any other Gilbert and Sullivan production are an absolute MUST-HAVE!

For anyone coming to this music for the first time this recording is a must. While one might quibble about this or that aspect, this version conveys the incredible invention of this classic in a fashion that leaves you singing for days afterward. Start here

The pacing on this production leaves much to be desired. The orchestra can't seem to find the right way to perform Ko-Ko's songs. When the songs should be fast, the orchestra plays like it is slogging through quicksand. When the pace should be slowed down a bit to allow for some witty enunciation, the orchestra races through. John Reed is acceptable as the Lord High executioner Ko-Ko, but he tends to sing a little flat in some of his songs. However, it is complete with the overture and the little list song is largely untouched. But these complaints aside, the music and words are still able to shine through. That's enough to make it a passable recording.

This is the standard recording of Mikado. The primary problem I have with it is that it is difficult at times to understand Gilbert's wonderful lyrics, but the sound is generally good anyway.

I'll admit it, I'm a G&S nut. I was raised on it and have never tired of the fantastic music, witty lyrics, and still hilarious gags. I have performed in several productions of Pirates and the Mikado as a lead baritone. So...

As a former Pooh-Bah, I can say the one on this recording is awful. Sure Sandford is a powerful singer and has a tremendous vibrato...bur come on, get over yourself. In fact, this seems to be a common ailment throughout this era of D'Oyly Carte. The performances of the Mikado, Nanki-Poo, and Katisha are all overblown and just not fun to listen to. The notable exception is Yum-Yum, whose voice is fantastic for light opera and actually sounds like she's enjoying the role instead of the chance to display her talent.

Whatever ailments affected the singers of this time of D'Oyly Carte blessedly did not touch the orchestra. This recording is one of the best I've heard for orchestral perfection. Good balance, perfect timing, and just the right 'extras' that afficionados will recognize.

Acceptable for a listen if you check in out from the library, but don't spend the money to add this to your collection.

I'm listening to the recording, making notes as I go. They are below for your delectation. Well...they might be helpful. Skip to the end for my overall impressions.

Colin Wright about loses the first G in the sailor section of "A wand'ring minstrel I." His excessive vibrato and unusual sibilance quickly tire the ear.

The tempo in "Our great Mikado, virtuous man" is too slow! It bothers me every time I hear it. Michael Rayner could have handled a faster tempo - come on.

Kenneth Sandford was so much better in the 1957 recording (not to mention he's paired up with Thomas Round and Alan Styler for his song in that recording!)

John Reed is his excellent self - though he probably would have sounded even better had this recording been made in 1966, as was the plan until the guest conductor (yup, Sir Malcolm Sargent) fell ill, making way for a recording of The Sorcerer instead (Gilbert & Sullivan: The Sorcerer & The Zoo).

The lady's voices make the recording crack when they hit their G's in "Comes a train of little ladies." This is totally unacceptable for a 1973 Decca recording! Get with the program, guys - your 1960s recordings sounded better (and certainly much more atmospheric). Valerie Masterson has arrived on stage. Things are getting better. Best "Three little maids from school" ever. Hands down. Masterson's G's in "So please you, sir, we much regret" are ravishing.

The slowest "I am so proud" I've heard. It excites only modified rapture. Ditto for "The threaten'd cloud has passed away." A slightly faster tempo would have been more exciting. Oh, no, Katisha just entered. Katisha's entrance should be terrible to the characters, not the audience. Lyndsie Holland screeches through her part in a way that is most exasperating. She sounds alright as the Baroness in The Grand Duke. Why not here? (Listen to "Thy heart unbi-ind" - you can almost hear the sound falling into her throat.) "The hour of gladness" here strikes me as being a bit plodding. Hm.

Why does Colin Write go up an octave on "How foil my foe"? None of the tenors on the seven other recordings I've heard do that. Ugh. Katisha just screamed her painful "I'll spoil" business. When I first heard this recording, I though it was a nice dramatic touch. But it doesn't bear repeated listening. The finale is on the slow side.

Okay, on to Act II. Ah, "The sun whose rays" is wonderful. The relaxed tempo gives VM to show off her splendid voice admirably.

The "Miya sama" scene is nice. John Alydon is a bit gruff as The Mikado, but certainly good enough. Everything from there is mediocre to very good. Holland does better in "Alone and yet alive" than in the Act 1 Finale. "On a tree by a river" comes off well. The short fanfare is included before the finale. Said Finale is reasonably satisfying, even though the orchestral sound is a bit on the shallow side.

Overall, this recording is a listen-able if flawed representation of the D'Oyly Carte Opera Company's abilities. John Reed and Valerie Masterson make it only somewhat worth your while, but certainly saves it from 1 or 2 star infamy. For one recording of the DOC in all its glory, turn to the 1959/60 recording of HMS Pinafore (Gilbert & Sullivan: HMS Pinafore/Gilbert & Sullivan: H.M.S. Pinafore) or the 1961 Patience (Gilbert & Sullivan: Patience). For a single recording of The Mikado, turn to the 1957 DOC recording with Isidore Godfrey conducting, now available in mono as two $1 MP3 downloads (if only they had been released in stereo!). The single CD Mackerras recording will also satisfy many, despite its minor imperfections (Gilbert & Sullivan - The Mikado / WNO · Mackerras).