John Gay: The Beggar's Opera [Import]

Anne Dawson (Artist), Bob Hoskins (Artist), Richard Jackson (Artist), Bronwen Mills (Artist), Adrian Thompson (Artist), John Gay (Composer), Ian Honeyman (Conductor), Charles Daniels (Orchestra), Roger Bryson (Performer), Ian Caddy (Performer) | Format: Audio CD

Product Details

• Performer: Roger Bryson, Ian Caddy
• Orchestra: Charles Daniels
• Conductor: Ian Honeyman
• Composer: John Gay
• Audio CD (September 10, 1992)
• Number of Discs: 2
• Format: Import
• Label: Hyperion UK
• ASIN: B000002ZR9
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #239,378 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. The Beggar's Opera: Introduction

2. The Beggar's Opera: Overture

3. Act I: Air 1 - Through All The Employments Of Life

4. The Beggar's Opera: Dialog

5. Act I: Air 2 - 'tis Woman That Seduces All Mankind

6. The Beggar's Opera: Dialog

7. The Beggar's Opera: Dialog

8. Act I: Air 3 - If Any Wench Venus' Girdle Wear

9. Act I: Air 4 - If Love The Virgin's Heart Invade

10. The Beggar's Opera: Dialog

See all 45 tracks on this disc

Disc: 2

1. Act 2: Dialog

2. Act 2: Air 27 -Thus When A Good Huswife Sees A Rat

3. Act 2: Air 28- How Cruel Are The Traitors

4. Act 2: Air 29 - The First Time At The Looking-Glass

5. Act 2: Dialog

6. Act 2: Air 30 - When You Censure The Age

7. Act 2: Dialog

8. Act 2: Air 31 - Is Then His Fate Decreed, Sir?

9. Act 2: Air 32 - You'll Think e'er Many Days Ensue

10. Act 2: Dialog

See all 58 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

22 of 27 people found the following review helpful:

3.0 out of 5 stars 'Back to Basics' for John Gay's 1728 hit ballad opera, May 12, 2005

By 

Nicholas A. Deutsch (Tarrytown, NY USA) - See all my reviews
(REAL NAME)   

This review is from: John Gay: The Beggar's Opera (Audio CD)

This recording seeks to give us a 'Beggar's Opera' uncut, undapted & unexpurgated. That presents big hurdles for modern performers & listeners. A complete performance is roughly 50/50 song & spoken dialogue, which poses a challenge whether one uses actors-who-sing (as in 1728) or singers-who-act (as here) - after all, the piece was conceived as a play punctuated by popular songs with 'parodied' lyrics. Unabridged, the text is full of obsolete words & local references, both geographical & political. Furthermore, there's a whole layer of satire in the musical numbers no longer accessible to us: the original audience would have been tickled by Gay's purloining a famous march from a heroic Italian opera - Handel's 'Rinaldo' - for a chorus of highwayman setting off to rob a coach, just as they would have been titillated to hear the text of Purcell's 'If Love's a Sweet Passion, why does it torment?' replaced by 'When young at the bar you first taught me to score.' But for us, other than 'Greensleeves' none of the tunes - lovely as they are - carries any particular associations.

Back in 1981, Jeremy Barlow & a handful of players from The Broadside Band joined 2 fine singers (Patrizia Kwella & Paul Elliot) in a charming CD that juxtaposed a few of the original songs with Gay's versions (Harmonia Mundi HMA 1951071). This ambitious 1994 follow-up, though well-performed & full of enjoyable moments, is frankly disappointing, & I can't help feeling here & there that everyone has bit off a bit more than they can chew. True, all the singers have been well coached in the dialogue, & all have their good moments - I like Richard Jackson's clenched-teeth Lockit very much - but to my ears only Sarah Walker has the size of personality & technical expertise to nail every single one of her lines square on its head easily. Elsewhere the effort shows, especially in Adrian Thompson's Macheath, which though hardworking lacks charm & charisma - he seems miscast. Sometimes one feels that the cast are treating Gay's text as if it were a serious slice-of-life view of the seamy side of London life, rather than a huge, cynical put-on (like its illustrious descendant, the Kander/Ebb/Fosse musical 'Chicago').

Musically, things are solid, as one would expect, yet even here I would question Barlow's decision to double the vocal line in almost every solo number with violins. To my ears it puts everyone in a metrical strait-jacket. This may have historical precedent, but surely a cast of professional singers, unlike actors, hardly needs the help? Again & again I felt that the few songs accompanied only by continuo - Polly's 'O ponder well' for one - gave the performers far more room for expressiveness.

Maybe I'm being too harsh, & certainly anyone interested in the history of the English popular musical theater will want to hear this, since at the very least it's a valuable reference edition. But I'm not sure it's going to come off my shelf as often as the Sargent/Austin version (Classics for Pleasure) or Benjamin Britten's genuinely operatic adaptation (Argo & Pearl); 'inauthentic' they may be, but expertly performed & full of gusto, fun & fierceness as well.