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Gilbert & Sullivan: The Gondoliers

Jill Pert, Richard Suart, Elizabeth Woollett, Philip Creasy, David Fieldsend, Alan Oke, Regina Hanley, John Rath & Lesley Echo Ross

Chorus & Orchestra of the D’Oyly Carte Opera, John Pryce Jones

Gilbert & Sullivan: The Gondoliers
This is one of a series of recordings by the new D'Oyly Carte Opera Company that offers a vastly better quality of sound than any of its ageing competitors. Orchestral detail is the most immediate...

Gilbert & Sullivan: The Gondoliers

Jill Pert, Richard Suart, Elizabeth Woollett, Philip Creasy, David Fieldsend, Alan Oke, Regina Hanley, John Rath & Lesley Echo Ross

Chorus & Orchestra of the D’Oyly Carte Opera, John Pryce Jones

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This is one of a series of recordings by the new D'Oyly Carte Opera Company that offers a vastly better quality of sound than any of its ageing competitors. Orchestral detail is the most immediate...

About

Gilbert and Sullivan, one of the most famous and successful writing partnerships in music, need little introduction. Their works are continually staged internationally, they have themselves been the subject of numerous books and feature films and their place as the great musical innovators of the operetta form, is assured within the cannon of British musical history.

All these recordings bring together high profile, international stars of stage and screen, working alongside some of the most acclaimed musical directors and conductors, a number of which will already be familiar to lovers of the TER catalogue

Contents and tracklist

List and Learn
Track length3:10
Good Morrow Pretty Maids
Track length2:51
For the Merriest Fellows Are We
Track length3:31
Buon Giorno Signorine
Track length3:36
We Are Called Gondolieri
Track length3:23
And Now to Choose Our Brides
Track length0:54
My Papa He Keeps Three Horses
Track length2:08
Thank You Gallant Gondolieri
Track length1:00
From the Sunny Spanish Shore
Track length2:17
In the Enterprise of Martial Kind
Track length3:40
O Rapture When Alone Together
Track length2:08
There Was a Time a Time Forever Gone
Track length1:38
I Stole the Prince and I Brought Him Here
Track length1:49
But Bless My Heart
Track length2:26
Try We Life Long
Track length1:13
Bridegroom and Bride
Track length1:45
When a Merry Maiden Marries
Track length2:03
Kind Sir You Cannot Have the Heart
Track length2:18
Then One of Us Will Be a Queen
Track length1:59
For Ev'ry One Who Feels Inclined
Track length1:18
Now Marco Dear My Wishes Hear
Track length3:12
Then Away They Go to an Island Fair
Track length5:37
Oh Happines the Very Pith In Barataria
Track length1:42
Rising Early In the Morning
Track length1:33
Take a Pair of Sparkling Eyes
Track length2:21
Here We Are At the Risk of Our Lives
Track length1:30
Dance a Cachucha
Track length4:04
There Live a King
Track length3:49
In a Contemplative Fashion
Track length2:28
With Ducal Pomp and Ducal Pride
Track length1:52
On the Day When I Was Wedded
Track length2:24
To Help Unhappy Commoners
Track length3:28
I Am a Courtier Grave and Serious
Track length1:52
Here Is a Case Unprecedented
Track length3:16
Now Let the Loyal Lieges Gather Round
Track length3:21
This Statement We Recieve
Track length3:28
Once More Gondolieri
Track length2:12

Awards and reviews

2010

This is one of a series of recordings by the new D'Oyly Carte Opera Company that offers a vastly better quality of sound than any of its ageing competitors. Orchestral detail is the most immediate beneficiary, and the overture serves to demonstrate John Pryce-Jones's lively tempos and lightness of touch. Outstanding among the singers are perhaps John Rath, who gives Don Alhambra's 'I stole the prince' and 'There lived a king' real presence, and Jill Pert, a formidable Duchess of Plaza- Toro. Richard Suart not only provides the leading comedy roles with exceptionally clear articulation and musicality, but also adds considerable character to his portrayals. David Fieldsend and Alan Oke provide attractive portrayals of the two gondoliers, and Lesley Echo Ross and Regina Hanley are also most agreeable.
Seasoned listeners may note numerous changes of detail as a result of the purging of the performance material of changes made to the parts around the time of the 1920s Savoy Theatre revivals. There's no dialogue, but added value is provided by Sullivan's sunniest comic opera score being accompanied by the sparkling Overturedi ballo, played in its original version with some traditional cuts opened up.
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