Composer: Arthur Sullivan
Works: The Pirates of Penzance, Trial by Jury
Performers: D’Oyly Carte Opera Company, New Promenade Orchestra/Isidore Godfrey
Recording: 1949
Label: NAXOS
Arthur Sullivan stands as a towering figure in the pantheon of English music, his operettas with W.S. Gilbert creating a cultural phenomenon that transcended the Victorian era. The two works presented in this NAXOS reissue, The Pirates of Penzance (1879) and Trial by Jury (1875), encapsulate Sullivan’s deftness in marrying wit with musical sophistication. These recordings, drawn from the last batch of conventionally cut 78-rpm masters, provide a fascinating glimpse into a pivotal moment in the history of English musical theater, performed by the esteemed D’Oyly Carte Opera Company, which had long been synonymous with Gilbert and Sullivan’s legacy.
In these performances, Isidore Godfrey’s conducting reveals a keen understanding of Sullivan’s rhythmic vitality and melodic charm. The pacing of the musical numbers is particularly noteworthy; Godfrey maintains an energetic tempo that keeps the sparkle of the melodies intact, ensuring that the humor remains sharp and engaging. This is especially crucial in Trial by Jury, where the rapid-fire exchanges demand crystal-clear diction and impeccable timing. The vocalists—most notably Leonard Osborn as the tenor and Muriel Harding as the soprano—adopt an expressive style that highlights the comic absurdities inherent in the plot. Osborn, while occasionally prone to a heavy vibrato, demonstrates a commendable range, particularly in the aria “When I, Good Friends, Was Called to the Bar,” where his vocal agility is put to the test. Harding’s lyrical phrasing in her role as the plaintiff is both charming and effective, embodying the character’s plight with a delightful naivety.
The Pirates of Penzance presents a different challenge, as it balances exuberance with moments of poignancy. The superb casting of Darrell Fancourt as the Pirate King and Martyn Green as Major General Stanley brings to life the satirical undercurrents of class and authority. Fancourt’s rich bass tone conveys both authority and an endearing foolishness, making his proclamations of piracy resonate with theatrical flair. Green, well-known for his portrayal of the General, excels in the patter song “I Am the Very Model of a Modern Major-General,” delivering the text with clarity and precision that showcases both Sullivan’s melodic invention and Gilbert’s linguistic playfulness.
Despite the limitations of the recording technology of the time, the sound quality remains commendable for a 1949 release. The mono recordings, while lacking the spatial depth of contemporary stereo productions, still capture the vibrancy of the performances. The acoustics, though somewhat boxy, do not detract significantly from the overall enjoyment. It is noteworthy that these recordings maintain the cuts typically employed in live performances, allowing for a complete presentation that reflects the theatrical traditions of the D’Oyly Carte. The engineering, while not flawless, exhibits a clarity that allows the nuances of Sullivan’s orchestration to shine through, even if the balance between the orchestra and singers occasionally favors the latter.
When compared to other notable recordings, such as those from the 1930s under Sir Malcolm Sargent, this collection offers a refreshing take, particularly in its lively tempi and the vitality of its cast. While Sargent’s orchestra often exhibited a more lush sound, the D’Oyly Carte’s interpretation under Godfrey embraces a directness that serves the comic spirit of these works well.
The charm of Sullivan’s music, coupled with the vibrant performances captured in this recording, creates a compelling experience for both aficionados and newcomers alike. This NAXOS release stands as a testament to the enduring appeal of Gilbert and Sullivan’s partnership, and the D’Oyly Carte Opera Company’s dedication to preserving their legacy. The interplay of humor, melody, and social commentary in these operettas remains as potent today as it was in the late 19th century, asserting their place in the canon of English musical theatre with unabated vigor.
