Gilbert & Sullivan: Operettas (Nine operettas and other miscellaneous works)

"(Patience) brings the best out of Sir Malcolm Sargent. A lot of this score is in 6/8 time - the Colonel's entrance song, both of Patience's arias, and the second-act quintet, for starters - and Sargent, sometimes accused of stodginess, infuses the rhythms, here and elsewhere, with a nice lift. The faster numbers are sprightly; the Dragoons' choruses are crisp and bright-eyed. The women's numbers call for more languor; Sargent shapes them expressively, but keeps the line firm, so they don't droop. The orchestral playing is vivid. In the Overture, the trumpet tunes stop just short of cornettish mawkishness, and the fast section dances, gracefully. The woodwind duets introducing the first finale have a properly antique feel." (MusicWeb on Patience)

"An excellent cast with the exception of John Shaw as Colonel Calverley who is very shaky and doesn't quite pull it off. George Baker is an exceptional Bunthorne. The orchestra is a delight with every detail of orchestration clearly recorded." (Mel@Marbecks on Patience)

"In this early instalment of the Glyndebourne series, Sargent's performance has plenty of zip, especially in the score's dancier sections. The waltz that concludes Act I's seventeen-minute opening number (!) has a nice swing; the 6/8 meters at the end of Act I and in the Act II quintet are buoyant and airborne; the Gavotte is crisp and pointed." (MusicWeb on The Gondoliers)

"A very successful recording of a very difficult operetta to cast. So many major roles requiring an excellent group of soloists. John Cameron and Richard Lewis stand out as the two brothers. This recording almost makes the grade except for a few sluggish tempos." (4 Stars) (Mel@Marbecks on The Gondoliers)

"The Pirates of Penzance recording is one of the very best Sargent inscriptions. It's energetic and witty, and has a sure sense of style. Sargent points When Frederic was a little lad strongly, which Monica Sinclair despatches with oratorio fervour. James Milligan is in fine voice for Oh, better far and the excellently judged duet, Oh, false one, is an example of the care and discrimination soloists, conductor and engineers extended to the concerted numbers." (MusicWeb on The Pirates of Penzance)

"H.M.S. Pinafore shows again the exceptionally high vocal standards set and maintained in the Sargent HMV productions. This applies equally to the choral numbers and to the playing of the Pro Arte orchestra; that it doesn't sound quite as lithe as some bands is really down to the generally genial tempi set by the conductor. Richard Lewis, George Baker and Owen Brannigan star for the men whilst Monica Sinclair turns in a star show for the women." (MusicWeb on HMS Pinafore)

"A very well sung recording indeed. Monica Sinclair is probably the very best Buttercup on disc and John Cameron makes a very special Captain. For once the Glynebourne crowd really sound like they are enjoying making the recording. Orchestra and chorus are nicely balanced." Mel@Marbecks on HMS Pinafore

"Sargent catches the élan and charm of the score, etching such things as the hornpipe - in I shipp'd, d'ye see, in a Revenue sloop - with practised command, not pushing the tempi. There's also some good 'business' in this recording. Sometimes the crowd scenes in these Sargent productions left a little of the gusto on the recording room floor but not here. Go for Oh, why am I moody and sad? for exhibit number one. For another try the spatial chorus separation in Painted emblems, which works exceptionally well." (MusicWeb on Ruddigore)

"Loaded with atmosphere and possibly the best sung recording of Ruddigore. The finale to Act One is almost in demonstration class. Every word is clearly heard. Owen Brannigan is a terrifying Sir Despard and Elsie Morison is delightful as Rose. The disappointments are few. Pamela Bowden struggles with Mad Margaret and the Act Two 'Matter' trio really needs the old hands of the D'Oyly Carte to make it work. The CDs are filled out with music from The Tempest and The Merchant of Venice." Mel@Marbecks on Ruddigore

"Sargent's symphonic assurance can also be gauged by the immensely powerful weight with which he imbues the opening of When our gallant Norman foes - he makes it a real set piece quasi-symphonic statement. Richard Lewis is typically elegant and fluid of voice as Fairfax and the chorus is once more a real presence in the performance." (MusicWeb on The Yeomen of the Guard)

"This is a very operatic Yeomen which certainly suits the work and gives the soloists an opportunity to shine. Sir Geraint Evans makes a better Jack Point than a Ko-Ko and 'When a wooer goes a-wooing' is very moving. It's nice to feel Sargent's hand with the excellent orchestral detail." Mel@Marbecks on The Yeomen of the Guard

"John Cameron is a good Strephon. His habit of pulling away from the voice "expressively" sounds merely precious; otherwise, he voices legato lines with firm, virile tone, and sings all the printed notes, including the high G and the low G (!). His first duet with Elsie Morison's Phyllis, None shall part us, proves one of the first act's highlights. The soprano, by the way, gives one of her most appealing performances of this series. Phyllis lies low for a G&S heroine, and Morison, not having to fight the role's tessitura, spins phrases with a welcome freshness and ease." (MusicWeb on Iolanthe)

"Exceptionally good singing especially in the Act One finale. George Baker is a strong Lord Chancellor but I prefer John Reed on the 1961 recording. John Cameron and Elsie Morison as Strephon and Phyllis are a little too strong in voice for their roles but they certainly seem to be enjoying themselves. Monica Sinclair is an excellent Fairy Queen - she certainly sends chills up the spine with her 'Take down our sentence as we speak it'." (Mel@Marbecks on Iolanthe)

"Full of atmosphere and wonderfully recorded this would get the full five star works if it was not for a disappointing George Baker as the Judge. Congratulations to the producers for the excellent stereo separation. I particularly like the chorus reactions and for once the Usher actually interrupts with his 'silence in court!'." (Mel@Marbecks on Trial By Jury)