Customer Reviews

Gilbert & Sullivan: Patience

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4 star:		(2)
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My wish had always been to see John Reed and the D'Oyly Carte Company in a performance of Patience. My mother had done so, remarking that, 'You'd need patience to watch it', she was coloured in her opinion, since she wanted to see 'The Mikado', but had gotten the wrong tickets! The recording, made in 1961, is superb in every detail. You are with the cast, on stage, in the auditorium, it is such a 'live' performance. The dialogue is delivered exquisitely, whilst the singing is uniformerly of the highest standard. I recently portrayed 'Bunthorne' and throughout my performances, I felt that I was continuing the legacy of Gilbert and Sullivan. All the past history of performers were there. I feel that Patience is a magical Savoy Opera. Do not miss the opportunity to own such a definitive performance. Maybe the subject of the 'Art Nouveau' periodof Victorian England is dated, but as one critic has already stated, every generation 'throws up' its poseures, to be knocked. 'Ah, me! lack aday!' BUY IT!

The wonderful cast transports you to the realms of Gilbert and Sullivan, to make you feel that you are experiencing a first night in 1881! John Reed, as Bunthorne, an aesthetic poet is superb, camp, subversive and a complete fraud. If anyone is not aware, the story of the opera is based upon the idiosyncracies of the Aesthetic movement in England of the 1880's and Gilbert used the public parodies of his friend Oscar Wilde as his major source. The rest of the cast, chorus and orchestra , under the long experienced 'Goddie' are superlative and make for one of the finest line-ups in D'Oyly Carte history. Revel and enjoy, for this is quite the best.

For those who prefer the traditional Savoyard renderings of the G&S canon, this is far and away the best recording of this parody of the cult of celebrity. John Reed leads the cast as a delightful Bunthorne, and the recording contains all of the opera's dialogue. "HMS Pinafore," "The Mikado," and "The Pirates of Penzance" may be better known, but "Patience" is deserving of a wider audience.

This recording was the last in a series of four by the D'Oyly Carte Opera Company to include dialogue. Thank goodness it does, because the performance is fabulous through and through! Patience is a Gilbert and Sullivan opera that receives far less attention than it should. After Iolanthe, it is my favorite. The continuous wit and unfailing music give it my highest recommendation.

The recording quality is of Decca's highest standards (even considering the date: 1961). The performers take it from their. Godfrey adopts lively tempi, injecting real life into this operetta (not as though it needs it).

Concerning the Women:

Mary Sansom is a perfect Patience. "The truly happy always seem to have so much on their minds. The truly happy never seem...quite well." She is never too sophisticated for her role, and sings fabulously. Not only does she hold on to that long A at the end of the Act 1 Finale, but pops up to a C-Sharp wonderfully seconds after. She is not an operatic-sounding soprano, but rather capitalizes on the softness of her tone. This is particularly effective in her Act 1 song, less so in "Love is a plaintive song." Fine performance.

Gillian Knight reaches to both ends of her range beautifully. From a low A-flat to a high F-sharp, this is a Lady Jane to contend with. The other rapturous maidens are also well up to form, though Saphir lingers a bit on her dialogue here and there. The only disappointment is Jennifer Toye as Ella. She is a good singer, but sounds a bit squeaky at times, but only a bit.

Concerning the Men:

John Reed is particularly excellent as Bunthorne. His singing and dialogue come off in a way that leaves the listener with the impression that it could not be done any other way. That is the mark of a great performance.

I was surprised by how well Kenneth Sandford worked as Grovesner. He is indeed Archibald the alright, demonstrating the pain at being "madly loved at first sight by every woman you come across."

All the others are equally up to par. (NB: This is Phillip Potter's debut recording.)

If dialogue isn't your thing for CD performances, it is always possible to use a program like FreeRip to copy the music onto your computer separately. To me, dialogue is an essential part of Patience, and I enjoy the recording thoroughly as is.

One annoyance is how Decca divided the discs in the middle of the Act 1 Finale. After "You're maiden hearts, ah, do not steal" the first CD ends, allowing the second CD to pick up at "Come walk up, and purchase with avidity." Again, with some work on your computer, an addition copy can be produced without this effect.

If you have found HMS Pinafore, the Mikado, and The Pirates of Penzance enjoyable, this is the next step. If you have a different recording of Patience, this is the next place to look, for it is one of the best recording of Patience imaginable.

I was worried because I had ordered an old outdated CD and it was used as well. It arrived earlier than anticipated and I was thrilled to find out in exceelent condition.

A sensitive, lovely, and well-sung rendition of one of the wittiest shows in the G&S canon. This recording from the early 60's sounds superb in the '89 pressing with a lovely balance between singers and orchestra, music and lyrics.

John Reed whose later recordings in the Grossmith roles can involve a lot of scenery-chewing and a tremulous, insubstantial voice is delightful here. You sort of pity him and sort of hate him. Just right.

Patience is not the most rolicking operetta in the canon, but what it lacks in bravado it makes up for in subtlety and satire. Yes, the target of the aesthetic poet is a little far afield for today, but Gilbert's craft and Sullivan's innate lyricism still shine.