{"product_id":"sargent-gilbert-sullvian-hms-pinafore-the-pirates-of-penzance-doyly-carte-1929-1930-paco182","title":"SARGENT Gilbert \u0026 Sullvian: HMS Pinafore \u0026 The Pirates of Penzance (D'Oyly Carte, 1929, 1930) - PACO182","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGILBERT \u0026amp; SULLIVAN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e HMS Pinafore\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGILBERT \u0026amp; SULLIVAN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Pirates of Penzance\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1929 \u0026amp; 1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:57\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCast and Chorus\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony \u0026amp; Light Opera Orchestras\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDr. Malcolm Sargent\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO182.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e“Oh joy, oh rapture unforeseen!”\u003c\/strong\u003e\nPristine returns to the classic series of D’Oyly Carte company\nHMV recordings from the late 1920s through the early 1930s to present two\nof the greatest of Gilbert and Sullivan’s comic operas: \u003cstrong\u003eH. M. S. Pinafore \u003c\/strong\u003eand\u003cstrong\u003e The Pirates of Penzance\u003c\/strong\u003e. These, along with \u003cstrong\u003eThe Mikado\u003c\/strong\u003e (whose 1926 D’Oyly Carte recording was\npreviously issued on Pristine PACO 087), remain the most beloved and\noften-performed of their works.\n\u003c\/p\u003e\n\u003cp\u003e\nLike the others in the original series of 78 rpm albums, these sets\nfeatured a mixture of seasoned Savoyards (Henry Lytton, Elsie Griffin,\nBertha Lewis, Darrell Fancourt and others) alongside popular concert\nsingers (George Baker, Peter Dawson) well-trained in the idiom, here under\nthe energetic baton of the young then-Dr. Malcolm Sargent. Together, their\nwork set the standard for G\u0026amp;S performances for decades to come through\nthese influential and widely-distributed recordings.\n\u003c\/p\u003e\n\u003cp\u003e\nThe discs, originally set down in 1929 and 1930, have been reissued several\ntimes on CD; I even did one of the previous editions, for Romophone, some\ntwenty-five years ago. Several factors set this new version apart from\ncompeting releases. First, I used American Victor “Z” pressings from\n1935-36 for source material. This series boasted the quietest shellac ever\nused on commercial discs – really, the next best thing to metal parts or\nvinyl test pressings. (I used “Z” pressings also for my Romophone release,\nbut I’ve found even better copies of each set since then. I can’t vouch for\nwhat other CD editions used, but “Z” albums are not that easy to come by.)\n\u003c\/p\u003e\n\u003cp\u003e\nOf equal importance, however, was something that \u003cem\u003ewasn’t\u003c\/em\u003e available\nfor previous transfers: iZotope RX 8 Advanced restoration software. Besides\nhaving declicking capabilities superior (IMO) to the CEDAR module I\npreviously used, RX offered the opportunity to clean up problems within\nfrequency bands to a degree hitherto unseen, as well as to stabilize pitch.\n(Admittedly, this last feature required careful monitoring: on a couple\noccasions, usually dealing with \u003cem\u003ea cappella\u003c\/em\u003e singing and\/or\ncoloratura runs, I found the software got confused and produced strange\nresults. In those cases, such as Mabel’s aria, “Poor wandering one”, I had\nto revert to manual pitching. But on the whole, it was an invaluable tool\nfor setting pitch and keeping it constant.)\n\u003c\/p\u003e\n\u003cp\u003e\nAnother handy feature RX offered was its “EQ Match” module. On each of the\ntwo sets, there were sides that were dubbings, marked by a “T1” next to the\ntake number on the discs. These had parts so loud that they were likely to\nshow wear on the disc after only a few playings. New matrices were created\nby playing back the metal parts and recording them at a lower volume level\nonto another matrix. As one might expect, the result, being a copy of a\nrecord, lacked the fullness of the original, and often sounded tinny. By\nusing EQ Match to another side in the set with similar forces and dynamic\nrange, I was able to get much closer to the original sound than ever\nbefore. (Indeed, the biggest challenge I had in transferring this set was\nconstructing endings to each side, as the original engineers sent the\ncutter to a run-out groove as soon as the music stopped!)\n\u003c\/p\u003e\n\u003cp\u003e\nI think you’ll find that these classic recordings wear their 90-plus years\nlightly, and that you’ll agree they’ve never sounded better. (“What,\nnever?” Well . . . you know the rest!)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eGILBERT \u0026amp; SULLIVAN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e HMS Pinafore \u0026amp; \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe Pirates of Penzance\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: 20px;\"\u003eGilbert \u0026amp; Sullivan\n\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eH. M. S. PINAFORE\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\n(or THE LASS THAT LOVED A SAILOR)\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nThe Rt Hon Sir Joseph Porter, K.C.B. . . . . . . . . . . . . . . . . . . .\n. . . . . . Sir Henry A. Lytton, \u003cem\u003ebaritone\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nCaptain Corcoran . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . George Baker, \u003cem\u003ebaritone\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nRalph Rackstraw . . . . . . .  . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . Charles Goulding, \u003cem\u003etenor\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nDick Deadeye . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . Darrell Fancourt, \u003cem\u003ebaritone\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nBill Bobstay (Boatswain’s Mate) . . . . . . . . . . . . . . . . . . . . . .\n. . . . Sydney Granville, \u003cem\u003ebass-baritone\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nBob Beckett (Carpenter’s Mate) . . . . . . . . . . . . . . . . . . . . . .\n. . . . Stuart Robertson, \u003cem\u003ebass-baritone\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nJosephine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . . . . . . Elsie Griffin, \u003cem\u003esoprano\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nHebe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . Nellie Briercliffe, \u003cem\u003emezzo-soprano\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\nMrs Cripps (“Little Buttercup”) . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . Bertha Lewis, \u003cem\u003econtralto\u003c\/em\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cstrong\u003eChorus and London Symphony Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cstrong\u003eSir Malcolm Sargent\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eCD 1 (77:34)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eH.M.S. Pinafore\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eOverture\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:59)\u003cbr\u003e(Cc 18642-3A \/ D 1844 \/ 5 Feb 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e Act 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003eWe sail the ocean blue\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:05)\u003cbr\u003e3. \u003cstrong\u003eHail, men-o’-war’s men\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:25)\u003cbr\u003e4. \u003cstrong\u003eI’m called Little Buttercup\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:35)\u003cbr\u003e(Cc 18636-5A \/ D 1844 \/ 24 Mar 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n5. \u003cstrong\u003eBut tell me – who’s the youth\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:28)\u003cbr\u003e6. \u003cstrong\u003eThe Nightingale sighed\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:52)\u003cbr\u003e7. \u003cstrong\u003eA maiden fair to see\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:54)\u003cbr\u003e(Cc 18639-3 \/ D 1845 \/ 24 Mar 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n8. \u003cstrong\u003eMy gallant crew, good morning\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:28)\u003cbr\u003e9. \u003cstrong\u003eI am the Captain of the \u003cem\u003ePinafore\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(1:48)\u003cbr\u003e10. \u003cstrong\u003eSir, you are sad\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:31)\u003cbr\u003e(Cc 18637-4A \/ D 1845 \/ 24 Mar 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n11. \u003cstrong\u003eSorry her lot\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:17)\u003cbr\u003e12. \u003cstrong\u003eOver the bright blue sea\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:38)\u003cbr\u003e(Cc 18704-1 \/ D 1846 \/ 14 Mar 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n13. \u003cstrong\u003eSir Joseph’s barge is seen\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:35)\u003cbr\u003e14. \u003cstrong\u003eGaily tripping, lightly skipping\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(1:23)\u003cbr\u003e15. \u003cstrong\u003eNow give three cheers\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:11)\u003cbr\u003e(Cc 18644-2 \/ D 1846 \/ 6 Feb 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n16. \u003cstrong\u003eWhen I was a lad\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:36)\u003cbr\u003e17. \u003cstrong\u003eFor I hold that on the seas\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:26)\u003cbr\u003e(Cc 18645-1 \/ D 1847 \/ 6 Feb 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n18. \u003cstrong\u003eA British tar is a soaring soul\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(1:56)\u003cbr\u003e19. \u003cstrong\u003eRefrain, audacious tar\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:49)\u003cbr\u003e(Cc 18641-2A \/ D 1847 \/ 14 Mar 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n20. \u003cstrong\u003eCan I survive this overbearing\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:42)\u003cbr\u003e21. \u003cstrong\u003eMy friends, my leave of life I’m taking\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(1:23)\u003cbr\u003e22. \u003cstrong\u003eOh joy, oh rapture unforeseen\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:22)\u003cbr\u003e(Cc 18649-2 \/ D 1848 \/ 6 Feb 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n23. \u003cstrong\u003eThis very night\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:58)\u003cbr\u003e24. \u003cstrong\u003eLet’s give three cheers for the sailor’s bride\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:36)\u003cbr\u003e(Cc 18647-3AT1 \/ D 1848 \/ 6 Feb 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eAct 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n25. \u003cstrong\u003eEntr’acte\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:07)\u003cbr\u003e26. \u003cstrong\u003eFair moon, to thee I sing\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:46)\u003cbr\u003e(Cc 18643-5A \/ D 1849 \/ 4 Feb 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n27. \u003cstrong\u003eThings are seldom what they seem\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(2:39)\u003cbr\u003e(Cc 18638-2 \/ D 1849 \/ 4 Feb 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n28. \u003cstrong\u003eThe hours creep on apace\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(4:32)\u003cbr\u003e(Cc 18698-2 \/ D 1850 \/ 14 Mar 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n29. \u003cstrong\u003eNever mind the why and wherefore\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(2:29)\u003cbr\u003e30. \u003cstrong\u003eKind Captain, I’ve important information\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:10)\u003cbr\u003e(Cc 18713-2A \/ D 1850 \/ 24 Mar 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n31. \u003cstrong\u003eCarefully on tiptoe stealing\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:39)\u003cbr\u003e32. \u003cstrong\u003ePretty daughter of mine\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:07)\u003cbr\u003e33. \u003cstrong\u003eHe is an Englishman!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:45)\u003cbr\u003e(Cc 18640-3AT1 \/ D 1851 \/ 4 Feb 1930)\n\n\u003c\/p\u003e\u003cp\u003e\n34. \u003cstrong\u003eIn uttering a reprobation\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:28)\u003cbr\u003e35. \u003cstrong\u003eFarewell, my own\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:39)\u003cbr\u003e(Cc 18648-2A \/ D 1851 \/ 6 Feb 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n36. \u003cstrong\u003eMy pain and my distress\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:43)\u003cbr\u003e37. \u003cstrong\u003eA many years ago\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:08)\u003cbr\u003e(Cc 18646-1A \/ D 1852 \/ 6 Feb 1930)\n\u003c\/p\u003e\n\u003cp\u003e\n38. \u003cstrong\u003eOh joy, oh rapture unforeseen\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:09)\u003cbr\u003e(Cc 18705-2 \/ D 1852 \/ 14 Mar 1930)\n\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: 20px;\"\u003eGilbert \u0026amp; Sullivan\n\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eTHE PIRATES OF PENZANCE\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n(or THE SLAVE OF DUTY)\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nThe Pirate King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . Peter Dawson, \u003cem\u003ebass-baritone\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nMajor-General Stanley . ... . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . George Baker, \u003cem\u003ebaritone\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nSamuel .  . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . Stuart Robertson, \u003cem\u003ebass-baritone\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nFrederic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . . . . . . . Derek Oldham, \u003cem\u003etenor\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nSergeant of Police . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . . Leo Sheffield, \u003cem\u003ebaritone\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nMabel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . . . . . . . Elsie Griffin, \u003cem\u003esoprano\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nEdith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . Nellie Briercliffe, \u003cem\u003emezzo-soprano\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nKate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . Nellie Walker, \u003cem\u003emezzo-soprano\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\nRuth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .\n. . . . . . . . . . . . . . . . . . . . . . Dorothy Gill, \u003cem\u003econtralto\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cstrong\u003e Chorus and Light Opera Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cstrong\u003eSir Malcolm Sargent\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Pirates of Penzance\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n39. \u003cstrong\u003eOverture\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(7:14)\u003cbr\u003e(Cc 15910-9A \u0026amp; 15921-1A\/ D 1678 \/ 15 May \u0026amp; 21 Feb 1929)\n\n\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eCD 2 (73:19)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e Act 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003ePour, oh, pour the pirate sherry\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(1:34)\u003cbr\u003e2. \u003cstrong\u003eWhen Frederic was a little lad\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:43)\u003cbr\u003e(Cc 15911-5 \/ D 1679 \/ 19 April 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n3. \u003cstrong\u003eOh, better far to live and die\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:13)\u003cbr\u003e4. \u003cstrong\u003eOh, false one, you have deceived me!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(2:25)\u003cbr\u003e(Cc 15943-5 \/ D 1679 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n5. \u003cstrong\u003eWhat shall I do?\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:15)\u003cbr\u003e6. \u003cstrong\u003eClimbing over rocky mountain\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:30)\u003cbr\u003e(Cc 15942-6 \/ D 1680 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n7. \u003cstrong\u003eStop, ladies, pray!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:22)\u003cbr\u003e8. \u003cstrong\u003eOh, is there not one maiden breast\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(3:08)\u003cbr\u003e(Cc 15918-4T1 \/ D 1680 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n9. \u003cstrong\u003e‘Tis Mabel!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:46)\u003cbr\u003e10. \u003cstrong\u003ePoor wandering one!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:34)\u003cbr\u003e(Cc 15915-5 \/ D 1681 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eWhat ought we to do\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:42)\u003cbr\u003e12. \u003cstrong\u003eHow beautifully blue the sky\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:57)\u003cbr\u003e(Cc 15917-3 \/ D 1681 \/ 21 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n13. \u003cstrong\u003eStay, we must not lose our senses\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(0:35)\u003cbr\u003e14. \u003cstrong\u003eHere’s a first-rate opportunity\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(0:51)\u003cbr\u003e15. \u003cstrong\u003eHold, monsters!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:50)\u003cbr\u003e(Cc 15912-2A \/ D 1682 \/ 20 Feb 1929)\n\n\u003c\/p\u003e\u003cp\u003e\n16. \u003cstrong\u003eI am the very model of a modern Major-General\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:49)\u003cbr\u003e(Cc 15909-2 \/ D 1682 \/ 19 Feb 1929)\n\n\u003c\/p\u003e\u003cp\u003e\n17. \u003cstrong\u003eOh, men of dark and dismal fate\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(2:18)\u003cbr\u003e18. \u003cstrong\u003eI’m telling a terrible story\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(0:38)\u003cbr\u003e19. \u003cstrong\u003eAlthough our dark career . . . Hail, Poetry\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(1:36)\u003cbr\u003e(Cc 16263-3 \/ D 1683 \/ 25 Mar 1929)\n\n\u003c\/p\u003e\u003cp\u003e\n20. \u003cstrong\u003eYou may go, for you’re at liberty\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(1:45)\u003cbr\u003e21. \u003cstrong\u003ePray, observe the magnanimity\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:36)\u003cbr\u003e(Cc 15948-6 \/ D 1683 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eAct 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n22. \u003cstrong\u003eOh, dry the glistening tear\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:03)\u003cbr\u003e(Cc 15914-3A \/ D 1684 \/ 20 Feb 1929)\n\n\u003c\/p\u003e\u003cp\u003e\n23. \u003cstrong\u003eThen, Frederic, let your escort lion-hearted\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(0:15)\u003cbr\u003e24. \u003cstrong\u003eWhen the foeman bares his steel\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(4:18)\u003cbr\u003e(Cc 15919-4 \/ D 1684 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n25. \u003cstrong\u003eNow for the pirates’ lair!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:17)\u003cbr\u003e26. \u003cstrong\u003eWhen you had left our pirate fold\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(3:16)\u003cbr\u003e(Cc 15906-2 \/ D 1685 \/ 19 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n27. \u003cstrong\u003eAway, away! my heart’s on fire\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:25)\u003cbr\u003e28. \u003cstrong\u003eAll is prepared, your gallant crew await you\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:05)\u003cbr\u003e(Cc 15907-3\/ D 1685 \/ 19 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n29. \u003cstrong\u003eAh, leave me not to pine\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(3:22)\u003cbr\u003e30. \u003cstrong\u003eOh, here is love, and here is truth\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(0:53)\u003cbr\u003e(Cc 15908-6A \/ D 1686 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n31. \u003cstrong\u003eNo, I am brave!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:20)\u003cbr\u003e32. \u003cstrong\u003eWhen a felon’s not engaged in his employment\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:14)\u003cbr\u003e(Cc 15916-3A \/ D 1686 \/ 20 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n33. \u003cstrong\u003eA rollicking band of pirates we\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(0:50)\u003cbr\u003e34. \u003cstrong\u003eWith cat-like tread\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:33)\u003cbr\u003e(Cc 15920-1A \/ D 1687 \/ 21 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n35. \u003cstrong\u003eHush, hush, not a word!\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:21)\u003cbr\u003e36. \u003cstrong\u003eSoftly sighing to the river\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(2:28)\u003cbr\u003e(Cc 15913-2 \/ D 1687 \/ 20 Feb 1929)\n\u003c\/p\u003e\n\u003cp\u003e\n37. \u003cstrong\u003eNow what is this, and what is that\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n(2:24)\u003cbr\u003e(Cc 15949-3A \/ D 1688 \/ 28 Feb 1929)\n\n\u003c\/p\u003e\u003cp\u003e\n38. \u003cstrong\u003eTo gain a brief advantage you’ve contrived\u003c\/strong\u003e \u003cstrong\u003e \u003c\/strong\u003e(2:23)\u003cbr\u003e39. \u003cstrong\u003ePoor wandering ones\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e(1:43)\u003cbr\u003e(Cc 16262-2A \/ D 1688 \/ 25 Mar 1929)\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded in Small Queen’s Hall, London\n\u003c\/p\u003e\n\u003cp\u003e\nOriginally issued as HMV Albums 100 (Pinafore) and 83 (Pirates)\n\u003c\/p\u003e\n\u003cp\u003e\n\nProducer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:57\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\u003cbr\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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 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