{"product_id":"doyly-carte-gilbert-sullivan-the-mikado-1926-paco087","title":"D'OYLY CARTE Gilbert \u0026 Sullivan: The Mikado (1926) - PACO087","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGILBERT \u0026amp; SULLIVAN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The MIkado\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1926\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 82:00\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Henry Lytton\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBertha Lewis \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElsie Griffin \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDarrell Fancourt \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDerek Oldham \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLight Opera Orchestra and Chorus\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHarry Norris, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTo this day, the 1926 Mikado remains one of the most exciting, and best sung, versions of the opera on record578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt was both a financially and artistically sensible decision to record \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Mikado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin 1926. The last released version dated as far back as 1917. The new\nrecording would feature the latest development in audio, utilizing a\nmicrophone to replace the old acoustic horn, opening up a world of\nformerly unavailable, higher frequencies. (It would also cause a few\nmore thoughtful critics, such as Sullivan’s friend, Herman Klein, to\nbemoan the exaggerated bass response of the new technology in recordings\nof close proximity, but the tradeoff was more than worth it.) It was\ntimed to coincide with a new production of the opera, as well, the first\nto offer fresh sets and designs since the original in 1885. The D’Oyly\nCarte Opera Company went further, shrewdly joining with Gaumont to issue\na silent, hand-colored, four-minute promotional film showing off the\ncast acting in front of the sets. (It still exists and can be found\nonline, though with little surviving of the original coloration.) The\nsense of occasion even drew a youthful BBC to broadcast live excerpts on\nSeptember 20 from a performance at the Princes Theatre. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt was a first for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Mikado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin another sense as well. The 1917 HMV set was produced without the\ninvolvement of the D’Oyly Carte Opera Company, who only went as far as\nto lease out the rights to the work. None of the artists were famed\nprofessionally for performing G\u0026amp; S; indeed, nearly all the roles\nwere split between two and even three (in the cases of Pish-Tush and\nPitti-Sing) house performers of the recording company. By contrast,\nnearly all the singers in this 1926 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMikado \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecording\nappeared in the new production. A person at the time who purchased HMV\n38, as it was listed in the day’s catalog, would presumably have been\ndelighted at the performers’ theatrical involvement, as well as the\nrichness and immediacy of the voices. (If you doubt the latter, just\nlisten for an hour or so to some acoustic recordings from the early\n1920s, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e hear this.) To this day, the 1926 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMikado \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eremains one of the most exciting, and best sung, versions of the opera on record. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOn to the singers. Derek Oldham is one\nof the best G\u0026amp; S tenors on record. His tone possesses a lot of head\nresonance; and buoyed along by good control of dynamics and shading,\ncreates the musical embodiment of those G\u0026amp; S roles noted for poetic\nsentiment. The outer sections of his “A wand’ring minstrel I” have only\nbeen equaled and never bettered, though he has solid higher notes for\nthe “And if you call for a song of the sea” section too. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBertha Lewis is regarded by many as the\nfinest principal contralto ever engaged by the D’Oyly Carte. She has an\nopulent, perfectly focused tone, rock-solid breath support, strong\ninterpretative powers, and the personality to bring it all across.\nOldham remarked in an interview once that she used to enter the stage\nmuttering under her breath, “There’s no room, there’s no room!” and take\ninstant command of everything in sight. Her Katisha is noteworthy for\nthe beauty of voice and tragic depth she brings to “The hour of\ngladness” in the act I finale. It is a fitting monument to an artist who\ndied at the age of 43 in 1931, five days after sustaining fatal\ninjuries in an automobile accident. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs it happens, Henry Lytton was driving\nthe car that had Lewis as a passenger at the time. He was unfortunately\nlong past his vocal prime when he recorded this Ko-Ko; in fact, he\nfirst joined the D’Oyly Carte chorus as far back as 1884. Lytton’s\ntalents brought him quickly to prominence, and he displays a fine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebel canto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e line in early G\u0026amp; T recordings made in the first decade of the century, such as “Time was when love and I,” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sorcerer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nBy the 1920s, however, the notes often fell by the wayside. He gets the\nwords and meaning across here, but the tone itself is always vinegary\nand sometimes unsteady. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLeo Sheffield is somewhat overparted as\nwell. Too often the thread of the voice breaks, the intonation slips,\nor the muffled low notes seem to come from somewhere down in the collar,\ndespite his clear grasp of Pooh-Bah’s character. In Sheffield’s\ndefense, like Lytton, he was accounted a consummate stage performer, and\nwe are all too used nowadays to basses taking the role, when in fact it\nwas originally assigned to a baritone. Sheffield is also said to have\nsuffered from great fright in front of the microphone. He is at his best\nin the trio, “I am so proud.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut Elsie Griffin is always a joy to\nhear. She fortunately recorded several soprano roles in G\u0026amp;S: Rose\nMaybud (1924), Mabel (1929), Kate (1929), and Josephine (1930).\nYum-Yum’s “The sun whose rays” isn’t well caught by the microphone—her\nvoice veers between too loud and too distant, with too little of the\ncolor that’s caught better in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Pirates of Penzance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—but it is very finely phrased, with good tone and attention to dynamics. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDarrell Fancourt recorded the eponymous role in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Mikado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthree times: in 1926, 1936, and 1950. Each subsequent time, his cackles\nof laughter grew more grotesque. Here he’s at his freshest, and most\ninvolved. That he can hold his own against the likes of Lewis says much\nfor Fancourt’s ability to project character. (His “amateur tenor whose\nvocal villainies” is especially funny, and sounds perhaps intentionally a\nbit like Oldham’s Nanki-Poo). Pish-Tush is taken by George Baker, who\nonly once sang G\u0026amp; S professionally in his 53-year career. He was\noften called upon for recordings of the operas, however, given his fine\nvoice, strong enunciation, and perfect feel for the style. His “Our\ngreat Mikado” is rightly celebrated. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere are a few flubs in the orchestra,\nbut Harry Norris conducts with a flexible, singing line that never\nbecomes too lax. His overture is one of the most attractive on disc,\nwith good attention to rhythms, and a refined control of tempo. He also\ngets more out of the “with passion tenderer still” line than I’ve heard\nelsewhere, with rapt singing from the chorus. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere’s no dialog, and none would be commercially recorded for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Mikado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nuntil Columbia’s release of the abridged version aired on The Bell\nTelephone Hour in 1960, featuring Groucho Marx, Helen Traubel, Stanley\nHolloway, and Robert Rounseville. Be advised, the original opera’s use\nof the term “nigger” can be heard twice, before it was tactfully changed\nin performing editions after 1947. It’s a wince-worthy two-by-four\nbetween the eyes. You have been warned. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are\nexcellent. I’ve lived for years with Pearl GEMM CDS 9025, an LP transfer\nthat employed minimal filtering, and was scratchy as a result.\nObert-Thorn’s comes as a distinct relief, in A\/B comparison: the\nscratchiness reduced, yet with more details present, and a sometimes\nsurprisingly open room ambiance (as in the orchestral passage leading to\nthe glee, “Brightly dawns our wedding day”) and tonal variety (as in\nthe second verse, “If I’d a fortune,” to “See how the fates”). This is\nan impressively listenable achievement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMinimal liner notes are provided, but frankly, that doesn’t matter. This \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMikado\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nremains one of the best available, with energy, ensemble feel, and a\nreal flair for the theatrics. It presents some of the celebrated legends\nof G\u0026amp; S performance in the early decades of the last century, and\nin this new remastering, doesn’t shred the ears. Strongly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBarry Brenesal\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO087.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe 1926 D'Oyly Carte production of The Mikado - Superb new Obert-Thorn transfer\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"the whole performance is extraordinarily good and sparkling\" - The Gramophone, 1927\u003cbr\u003e\"it is doubtful that any better cast than this was assembled in the twentieth century\" - The G\u0026amp;S Discography \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe 1926 D’Oyly Carte production of The Mikado boasted\nseveral “firsts”. It was the first to use new costumes and scenery since\nthe original production of 1885, and the first to broadcast a portion\nof the opening night performance on the radio, live from the theater. It\nwould also become not merely the first Gilbert and Sullivan work, but\nthe first opera of any kind to be recorded complete using the new\nelectrical process.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs might be expected with such an early effort, the\nrecording quality is variable. Some portions have much clarity and\npresence, while other sides sound dim and muffled. There are balance\nproblems between singers and orchestra, and sometimes between one singer\nand another. The sides dating from the December 6th session are\nparticularly problematic – bass-deficient, shrill and distorted.\u003c\/p\u003e\u003cp class=\"body\"\u003eNevertheless, the set is significant in that it\npreserves the performances of several unforgettable Savoyards. As the\nGilbert and Sullivan Discography website puts it, this was “the height\nof the so-called ‘golden age’ of G\u0026amp;S singing, and it is doubtful\nthat any better cast than this was assembled in the twentieth century.\nLytton, Lewis, Fancourt, Oldham and Griffin are all justifiably rated as\nG\u0026amp;S legends.” Chief among the attractions here is the Ko-Ko of Sir\nHenry A. Lytton, heir to the “patter” roles originated by George\nGrossmith and continued by Walter Passmore, who would himself turn them\nover to Martyn Green in the 1930s. (The recording also, unfortunately,\npreserves a racial slur in Ko-Ko’s “little list” and the Mikado’s litany\nof punishments, one which was not removed from the performing editions\nuntil 1948.)\u003c\/p\u003e\u003cp class=\"body\"\u003eThe transfer has been made from the best portions of\nthree late-Orthophonic U.S. Victor pressings, the quietest form of issue\nI have heard for this basically rather noisy set. Save for excerpts, it\nhas never received an “official” LP or CD reissue.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003ctable style=\"width: 717px; height: 26px;\" cellspacing=\"0\" cellpadding=\"0\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd class=\"bodybigblue\" width=\"363\" valign=\"top\" align=\"left\"\u003e\n\u003cp\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e 1 \u003cb\u003eOverture\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(7:25)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9408-2 \u0026amp; 9409-2 \/ D 1172 \/ 8 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 2 \u003cb\u003eIf you want to know who we are\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:14)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 3 \u003cb\u003eGentlemen, I pray you tell me\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(0:38)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9495-1A \/ D 1173 \/ 26 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 4 \u003cb\u003eA wand’ring minstrel I\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(4:12)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9410-5A \/ D 1173 \/ 19 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 5 \u003cb\u003eOur great Mikado\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:37)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9462-2A \/ D 1174 \/ 19 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 6 \u003cb\u003eYoung man, despair\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:37)\u003c\/span\u003e\u003cbr\u003e 7 \u003cb\u003eAnd, have I journeyed\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(0:53)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9467-3 \/ D 1174 \/ 6 Dec 1926)\u003c\/span\u003e\u003cbr\u003e 8 \u003cb\u003eBehold the Lord High Executioner\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:15)\u003c\/span\u003e\u003cbr\u003e 9 \u003cb\u003eAs some day it may happen\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:17)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9494-1 \/ D 1175 \/ 26 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 10 \u003cb\u003eComes a train of little ladies\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:09)\u003c\/span\u003e\u003cbr\u003e 11 \u003cb\u003eThree little maids\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(1:31)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9471-4 \/ D 1175 \/ 6 Dec 1926)\u003c\/span\u003e\u003cbr\u003e 12 \u003cb\u003eSo please you, sir\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e 13 \u003cb\u003eWere you not to Koko plighted\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:16)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9468-2 \/ D 1176 \/ 19 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 14 \u003cb\u003eI am so proud\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:47)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9466-4 \/ D 1176 \/ 6 Dec 1926)\u003c\/span\u003e\u003cbr\u003e 15 \u003cb\u003eWith aspect stern\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:07)\u003c\/span\u003e\u003cbr\u003e 16 \u003cb\u003eThe threatened cloud\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(2:22)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9489-2A \/ D 1177 \/ 26 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 17 \u003cb\u003eYour revels cease\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(4:42)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9490-2 \/ D 1177 \/ 26 Nov 1926)\u003c\/span\u003e\u003cbr\u003e 18 \u003cb\u003eOh, faithless one\u003c\/b\u003e \u003cspan class=\"bodysmallarialblue\"\u003e(3:34)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9491-2 \/ D 1178 \/ 26 Nov 1926)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"354\" valign=\"top\" align=\"left\"\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e 1 \u003cb\u003eBraid the raven hair\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(3:10)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9472-4 \/ D 1178 \/ 6 Dec 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 2 \u003cb\u003eThe sun whose rays\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(2:45)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9470-1 \/ D 1179 \/ 22 Nov 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 3 \u003cb\u003eBrightly dawns our wedding day\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(3:40)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9469-3 \/ D 1179 \/ 6 Dec 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 4 \u003cb\u003eHere’s a how-de-do\u003c\/b\u003e (1:12)\u003cbr\u003e 5 \u003cb\u003eMi-ya-sa-ma . . . From every kind of man\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(3:08)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9488-1 \/ D 1180 \/ 26 Nov 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 6 \u003cb\u003eA more humane Mikado\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(3:48)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9463-2A \/ D 1180 \/ 19 Nov 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 7 \u003cb\u003eThe criminal cried\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(3:31)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9493-2 \/ D 1181 \/ 26 Nov 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 8 \u003cb\u003eSee how the fates\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(2:17)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 9 \u003cb\u003eThe flowers that bloom in the spring\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(1:28)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9494-2 \/ D 1181 \/ 19 Nov 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 10 \u003cb\u003eAlone, and yet alive\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(2:16)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 11 \u003cb\u003eOn a tree by a river\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(2:18)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9465-3 \/ D 1182 \/ 6 Dec 1926)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 13 \u003cb\u003eThere is beauty in the bellow of the blast\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(1:56)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e 14 \u003cb\u003eFor he’s gone and married Yum-Yum\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(2:00)\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e (Cc 9492-2 \/ D 1182 \/ 26 Nov 1926)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO087.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO087.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGILBERT AND SULLIVAN \u003c\/b\u003eThe Mikado\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003cbr\u003e The Mikado of Japan: \u003cb\u003eDarrell Fancourt\u003c\/b\u003e\u003cbr\u003e Nanki-Poo, his son (disguised): \u003cb\u003eDerek Oldham\u003c\/b\u003e\u003cbr\u003e Ko-Ko, Lord High Executioner: \u003cb\u003eSir Henry A. Lytton\u003c\/b\u003e\u003cbr\u003e Pooh-Bah, Lord High Everything Else: \u003cb\u003eLeo Sheffield\u003c\/b\u003e\u003cbr\u003e Pish-Tush, a Noble Lord: \u003cb\u003eGeorge Baker\u003c\/b\u003e\u003cbr\u003e Go-To, a Noble Lord: \u003cb\u003eT. Penry Hughes\u003c\/b\u003e\u003cbr\u003e Yum-Yum, ward of Ko-Ko: \u003cb\u003eElsie Griffin\u003c\/b\u003e\u003cbr\u003e Pitti-Sing, schoolfriend (shared role): \u003cb\u003eAileen Davies*, Doris Hemingway**, Beatrice Elburn***\u003c\/b\u003e\u003cbr\u003e Peep-Bo, another schoolfriend: \u003cb\u003eBeatrice Elburn\u003c\/b\u003e\u003cbr\u003e Katisha, a Lady of the Mikado’s court: \u003cb\u003eBertha Lewis\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eLight Opera Orchestra and Chorus\u003cbr\u003e Harry Norris\u003c\/b\u003e, conductor\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e(Pitti-Sing: *CD 1, Tracks 12, 16 \u0026amp; 17; CD 2, Tracks 7, 8, 9 \u0026amp; 13 - **CD 1, Track 11; CD 2, Track 3 - ***CD 2, Track 1)\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003eRecorded in \u003cb\u003eSmall Queen’s Hall, London\u003c\/b\u003e\u003cbr\u003e Originally issued in\u003cb\u003e HMV Album 38\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric Gramophone Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eThe Mikado. \u003c\/b\u003eProduced at the Savoy, March 14th, 1885. \u003cbr\u003e In the old set (H.M.V., D.2-D.12 \u003cem\u003e[rec. 1917]\u003c\/em\u003e)\nthe overture, especially the second half, was the pick of the whole\nbunch, and Radford the pick of the artists. The tenor and soprano both\nseem a little flat in their top notes, and the tenor further lacks the\nsense of the opera which Oldham has. The second verse of Pish-Tush's\nsong\u003cem\u003e Our great Mikado\u003c\/em\u003e was cut, and I am glad to find it restored in the new set, and there were a few minor ones as well. \u003cbr\u003e \u003cbr\u003e\nThe new set has every advantage, not only improved recording, but also\nthe actual singers that we know in the theatre, available to no other\nrecording company. There are, however, some small faults. Oldham in \u003cem\u003eA Wandering Minstrel I\u003c\/em\u003e\nis excellent and sympathetic, but uses falsetto at the end which should\nbe unnecessary for so good a singer. Sheffield and Fancourt are neither\nof them vocally so good as Radford, but are first-rate nevertheless.\nFancourt in the Mikado's song \"fair gives one the creeps,\" even though\nhe cannot make such an excruciating \"gulch\" as Leicester Tunks used to\ndo. Ko-ko is bound to lose most through being invisible, and Lytton\nseems to feel this. At any rate, he is inclined to be mechanical,\ndelightful though he always is, even at a discount. As for the women,\nwhereas Violet Essex sings\u003cem\u003e The Sun whose rays\u003c\/em\u003e with dramatic\neffect but flat, Elsie Griffin sings it blamelessly but with-no dramatic\neffect at all. Bertha Lewis is first-rate, as one feels sure before\ncoming to her.\u003cem\u003e Three little maids\u003c\/em\u003e is capitally sung and the \u003cem\u003eMadrigal\u003c\/em\u003e\nis heavenly, especially the piano, but the whole performance is\nextraordinarily good and sparkling, one good thing after another, in\nfact - with one serious blemish, the overbearing orchestra already\nreferred to. There are certain variations from the original score, but\nin accordance with invariable stage practice; for instance, \u003cem\u003eSo please you, Sir \u003c\/em\u003eas\noriginally written. included Pish-Tush as well as Pooh-Bah and the\nthree Little Maids. In the finale a few bits of accompaniment are cut\nout to save time, but every word of the libretto is there apart from the\ndialogue. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eExcerpt from \"Savoy Opera Records\" by N. M. Cameron, The Gramophone\u003c\/b\u003e \u003cem\u003eJune 1927\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064780124250,"sku":"tbc1789304835753","price":9.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064780157018,"sku":"xem1789304835754","price":8.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/doyly-carte-gilbert-sullivan-the-mikado-1926---paco087_1.jpg?v=1789304842","url":"https:\/\/vestorawear.shop\/products\/doyly-carte-gilbert-sullivan-the-mikado-1926-paco087","provider":"My Store","version":"1.0","type":"link"}