Composer: FORGOTTEN
Works: VICTORIAN THEATRE MUSIC: SULLIVAN & BALFE
Performers: Alderley Singers & Festival Orchestra conducted by Peter England
Recording: Live concert recording, 18th November 2000, Alderley Edge, Cheshire
Label: WRW201-2
The music of Arthur Sullivan and Michael William Balfe, luminaries of the Victorian theatre, serves as an essential lens through which to view the evolution of English operatic music in the late 19th century. This recording, while ambitiously titled “Forgotten Victorian Theatre Music,” paradoxically revisits a repertoire that, while not entirely lost, has certainly drifted into obscurity. The collection opens with Balfe’s overture “Le Puits d’Amour,” whose suave orchestration and elegant melodic lines provide a charming introduction to the album. Balfe’s work, often overshadowed by Sullivan’s monumental legacy, showcases an appealing lyrical style that complements the ensuing Sullivan selections, inviting listeners to appreciate the richness of the Victorian musical landscape.
The performance, conducted by Peter England, captures the warm, intimate atmosphere of a local concert setting, which, while tinged with amateurism, allows for an engaging and heartfelt rendition of the works. Soloists Sarah Grey, Anthony Noden, and Robert Wardle deliver commendable performances, particularly Grey’s interpretation of “When Love and Beauty,” a piece that radiates the youthful exuberance characteristic of Sullivan’s early style. The clarity of her tone and the expressive phrasing breathe life into this long-neglected gem, illuminating the composer’s gift for lyrical beauty. The duet offerings from “The Beauty Stone” and “The Contrabandista” serve to illustrate the seamless integration of vocal lines and orchestral support, yet one might wish for greater dramatic depth in their execution.
The recording quality, courtesy of Ray Walker, captures the live essence of the performance while maintaining a clear balance between singers and orchestra. The engineering skillfully preserves the acoustic nuances of the Alderley Edge venue, fostering a sense of proximity that allows the listener to feel as if they are part of the intimate gathering. However, some moments reveal the limitations of the amateur ensemble, particularly in ensemble cohesion and dynamic contrast, which could benefit from more meticulous rehearsal and refinement.
While several of the Sullivan selections, particularly those from the Savoy operas, are well-trodden territory, pieces such as the selections from “The Sapphire Necklace” and “Thespis” stand out as significant contributions to the understanding of Sullivan’s oeuvre. The inclusion of the lovely “Come away” from “The Emerald Isle” in its original context enriches the listening experience, and the potpourri for flute and piano from “The Pirates of Penzance,” arranged by the D’Oyly Carte flautist, adds an unexpected delight. Yet, in juxtaposition to more polished recordings, such as the complete operas conducted by Sir Charles Mackerras, this performance may leave some listeners yearning for a more refined execution.
The album serves as a valuable exploration of Sullivan and Balfe’s contributions, offering a chronological survey that not only highlights lesser-known works but also encourages a reassessment of their place within the pantheon of English music. While the execution may falter at points, the overall charm, warmth, and historical significance of this collection resonate with both seasoned aficionados and those newly discovering the treasures of Victorian theatre music. The thoughtful programming and dedicated performances ultimately deliver an engaging experience, reaffirming the enduring appeal of these composers even as they tread the line between recognition and forgetfulness.
