APOLOGIES FOR THE LATE POSTING: I really wanted to do something more with this post, and I just wasn't getting it done. Finally I decided to go with what I had more or less ready, reserving the right to return to the subject.
MONDAY NIGHT UPDATE: With time to reflect, I've revamped the post to include vocal texts. After all, if I'm inviting you to listen, really listen, to the various performances, and I am, I am, the texts could help, and even raise questions like: For which recordings are the printed texts most and least necessary? -- Ken
Dance a cachucha!
Dance a cachucha, fandango, bolero,
Xeres we’ll drink -- Manzanilla, Montero.
Wine, when it runs in abundance, enhances
the reckless delight of that wildest of dances!
To the pretty pitter-pitter-patter,
and the clitter-clitter-clitter-clatter --
clitter -- clitter -- clatter,
pitter -- pitter -- patter,
patter, patter, patter, patter, we’ll dance.
Old Xeres we’ll drink -- Manzanilla, Montero --
for wine, when it runs in abundance, enhances
the reckless delight of that wildest of dances!
D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
New D'Oyly Carte Opera Chorus and Orchestra, John Pryce-Jones, cond. TER-Sony, recorded June 23-27, 1991
Glyndebourne Festival Chorus, Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
by Ken
No, this isn't the post I promised, or had in mind in Friday night's preview. Instead, I thought we'd just listen to some music. One thing that I did promise is that we were going to work back to the Gondoliers Overture, and that we are going to do.
We've started with the "Cachucha" from Act II, because it's the difference (or almost) between the original Overture imagined by Sir Arthur Sullivan, which ended -- most atypically for a Gilbert and Sullivan overture -- in a note of calm and poise and what I've called the "expanded D'Oyly Carte version," which basically tacked on . . . the "Cachucha"!
In a moment we're going to hear the Gondoliers Overture three ways, but first I want to invite you in listening to today's excerpts to really listen to what's going on. And I mean starting with the "Cachucha" (which, again, for the record, I'm told is more properly a fandango, which is also among the dances the revelers mention). On my scorecard what we've got above is a really good performance, an okay one (though it's "musical values" are often vouched for), and finally a performance that lifts the music, and the situation of the characters, into an unmistakably higher realm.
NOW LET'S GO GACK TO THE COMPLETE OVERTURE
"The passages drawn upon are the music that accompanies the arrival of the two gondolier-heroes' wives on the island of Barataria (Act II), Tessa's 'When a merry maiden marries' from Act I, and the Gavotte 'I am a courtier grave and stately' from Act II. D'Oyly Carte productions usually tack on the Cachucha from Act II [at 5:50 of the Marriner performance above] as an undeniably effective but apparently unauthorized ending."
-- from Alan Gregory's liner note for the Groves-EMI LP (note
below that Sir Charles didn't play the "unauthorized" version)
below that Sir Charles didn't play the "unauthorized" version)
GILBERT and SULLIVAN: The Gondoliers (1889): Overture
Original unexpanded version
Royal Liverpool Philharmonic Orchestra, Sir Charles Groves, cond. EMI, recorded 1973
Expanded D'Oyly Carte version 1
Academy of St. Martin in the Fields, Sir Neville Marriner, cond. Philips, recorded February 1992 5:50
Expanded D'Oyly Carte version 2
New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
One (admittedly minor) reason I wanted to come back to the Gondoliers Overture is that when we first listened to it last week ("Gilbert and Sullivan's gondoliers try to temper monarchy with republican equality"), in describing the "expanded D'Oyly Carte version" I wrote the same thing as Alan Gregory: that it tacks on "Dance a cachucha," as indeed it does in the Marriner "Version 1" above, using for transition a quick repeat of the opening, which is the introduction to the wives' entrance "Here we are at the risk of our lives") in Act II. Then "Version 1" repeats the "Dance a cachucha" material.
But the version I know best is the one played by Isidore Godfrey in his 1960 D'Oyly Carte Gondoliers. Godfrey had played this same version in his 1950 D'Oyly Carte Gondoliers; for the next D'Oyly Carte recording, in 1977, conductor Royston Nash reverted to the original version, and it was used again in the 1991 New D'Oyly Carte recording. In this Version 2, the transition music is instead the contadine's Act I opening chorus, "List and learn, ye dainty roses," at 5:44 of the Godfrey version, leading into "Dance a cachucha"(once through) at 5:56.
NOW TO BREAK DOWN THE OVERTURE
By normal Savoy standards, the original Gondoliers Overture is modest in scale. It in fact uses only three tunes from the opera. And we're going to hear them now.
(1) Act II, Contadine, "Here we are at the risk of our lives"
Enter chorus of Contadine, running in, led by FIAMETTA and VITTORIA. They are met by all the ex-gondoliers, who welcome them heartily.
CONTADINE: Here we are, at the risk of our lives,
from ever so far, and we've brought your wives --
and to that end we've crossed the main,
and don't intend to return again!
FIAMETTA: Though obedience is strong,
curiosity’s stronger.
We waited for long,
till we couldn't wait longer.
VITTORIA: It's imprudent, we know,
but without your society,
existence was slow,
and we wanted variety --
BOTH: Existence was slow, and we wanted variety.
ALL: So here we are, at the risk of our lives,
and we've brought your wives --
and to that end we've crossed the main,
and we don't intend to return again!
Dawn Bradshaw (s), Fiametta; Ceinwen Jones (ms), Vittoria; Alan Styler (b), Giuseppe Palmieri; Joyce Wright (ms), Tessa; Mary Sansom (s), Gianetta; Thomas Round (t), Marco Palmieri; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
Yvonne Patrick (s), Fiametta; Pamela Baxter (ms), Vittoria; Alan Oke (b), Giuseppe Palmieri; Regina Hanley (ms), Tessa; Leslie Echo Ross (s), Gianetta; David Fieldsend (t), Marco Palmieri;New D'Oyly Carte Opera Chorus and Orchestra, John Pryce-Jones, cond. TER-Sony, recorded Feb. 23-27, 1991
Stella Hitchens (s), Fiametta; Lavinia Renton (s), Vittoria; John Cameron (b), Giuseppe Palmieri; Marjorie Thomas (ms), Tessa; Elsie Morison (s), Gianetta; Richad Lewis t), Marco Palmieri; Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
(2) Act I, Song, Tessa, "When a merry maiden marries"
TESSA: When a merry maiden marries,
sorrow goes and pleasure tarries;
every sound becomes a song,
all is right, and nothing's wrong!
From today and ever after
let our tears be tears of laughter.
Every sigh that finds a vent
be a sigh of sweet content!
When you marry, merry maiden,
then the air with love is laden.
Every flower is a rose,
every goose becomes a swan;
every kind of trouble goes
where the last year's snows have gone!
CHORUS: Sunlight takes the place of shade
when you marry, merry maid!
TESSA: When a merry maiden marries,
sorrow goes and pleasure tarries;
every sound becomes a song,
all is right, and nothing's wrong.
Gnawing Care and aching Sorrow,
get ye gone until to-morrow;
jealousies in grim array,
ye are things of yesterday!
When you marry, merry maiden,
then the air with joy is laden.
All the corners of the earth
ring with music sweetly played;
worry is melodious mirth,
grief is joy in masquerade;
CHORUS: Sullen night is laughing day --
all the year is merry May!
Joyce Wright (ms), Tessa; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
Jean Allister (ms), Tessa; Beecham Choral Society, Royal Philharmonic Orchestra, James Walker, cond. Reader's Digest, recorded February 1963
Regina Hanley (ms), Tessa; New D'Oyly Carte Opera Chorus and Orchestra, John Pryce-Jones, cond. TER-Sony, recorded June 23-27, 1991
Marjorie Thomas (ms), Tessa; Glyndebourne Festival Chorus, Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
(3) Act II, Gavotte, Duke, "I am a courtier grave and serious"
DUKE: I am a courtier grave and serious
who is about to kiss your hand:
try to combine a pose imperious
with a demeanor nobly bland.
MARCO and GIUSEPPE: Let us combine a pose imperious
with a demeanour nobly bland.
[MARCO and GIUSEPPE endeavor to carryout his instructions.]
DUKE:That’s, if anything, too unbending --
too aggressively stiff and grand;
[They suddenly modify their attitudes.]
Now to the other extreme you’re tending --
don’t be so deucedly condescending!
DUCHESS and CASILDA: Now to the other extreme you’re tending --
don’t be so dreadfully condescending!
MARCO and GIUSEPPE: Oh, hard to please some noblemen seem!
At first, if anything, too unbending;
off we go to the other extreme,
too confoundedly condescending!
DUKE:Now a gavotte perform sedately;
offer your hand with conscious pride;
take an attitude not too stately,
still sufficiently dignified.
MARCO and GIUSEPPE: Now for an attitude not too stately,
still sufficiently dignified.
[They endeavor to carry out his instructions.]
DUKE [beating time]: Oncely, twicely -- oncely, twicely --
bow impressively ere you glide.
[They do so.]
Capital both, capital both -- you’ve caught it nicely!
That is the style of thing precisely!
DUCHESS and CASILDA: Capital-both, capital both -- they’ve caught it nicely!
That is the style of thing precisely!
MARCO and GIUSEPPE: Oh, sweet to earn a nobleman’s praise!
Capital both, capital both -- we’ve caught it nicely!
Supposing he’s right in what he says,
This is the style of thing precisely!
Gavotte
John Reed (b), Duke of Plaza-Toro; Thomas Round (t), Marco Palmieri; Alan Styler (b), Giuseppe Palmieri; Gillian Knight (c), Duchess of Plaza-Toro; Jennifer Toye (s), Casilda; New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
Richard Suart (b), Duke of Plaza-Toro; David Fieldsend (t), Marco Palmieri; Alan Oke (b), Giuseppe Palmieri; Jill Pert (c), Duchess of Plaza-Toro; Elizabeth Woollett (s), Casilda; New D'Oyly Carte Opera Orchestra, John Pryce-Jones, cond. TER-Sony, recorded June 23-27, 1991
Geraint Evans (b), Duke of Plaza-Toro; Richard Lewis (t), Marco Palmieri; John Cameron (b), Giuseppe Palmieri; Monica Sinclair (c), Duchess of Plaza-Toro; Edna Graham (s), Casilda; Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
NOW LET'S JUST LISTEN TO TWO MORE THINGS
First let's listen to the Overture again, in its unexpanded form, in a very good performance, the one from that 1977 D'Oyly Carte recording conducted by Royston Nash, and then in Sir Malcolm Sargent's EMI stereo Gondoliers, just as we heard it last week.
The Gondoliers: Overture
Royal Philharmonic Orchestra, Royston Nash, cond. Decca, recorded Feb. 18-25, 1977
Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
And now I thought we'd listen quickly to the end of the Act I finale, the part that comes after the part we listened to last week.
Act I, end of the Finale, Marco and Giuseppe, "Come, let's away" . . . Solos, Giannetta and Tessa, "Now Marco dear" . . . "You'll lay your head" . . . Solo, Marco, "Away we go to a balmy isle" . . . Chorus, "Then away they go to an island fair"
MARCO and GIUSEPPE [together]:
Come, let's away -- our island crown awaits me --
conflicting feelings rend my soul apart!
The thought of Royal dignity elates me,
[Addressing GIANETTA and TESSA]
but leaving thee behind me breaks my heart!
GIANETTA and TESSA [together]:
Farewell, my love; on board you must be getting;
but while upon the sea you gaily roam,
remember that a heart for thee is fretting --
the tender little heart you've left at home!
GIANETTA: Now, Marco dear,
my wishes hear:
while you're away
it's understood
you will be good
and not too gay.
To every trace
of maiden grace
you will be blind,
and will not glance
by any chance
on womankind!
If you are wise,
you'll shut your eyes
till we arrive,
and not address
a lady less
than forty-five.
You'll please to frown
on every gown
that you may see;
and, o my pet,
you won't forget
you've married me!
And O my darling, O my pet,
whatever else you may forget,
in yonder isle beyond the sea,
do not forget you've married me.
TESSA: You'll lay your head
upon your bed
at set of sun.
You will not sing
of anything
to anyone.
You'll sit and mope
all day, I hope,
and shed a tear
upon the life
your little wife
is passing here.
And if so be
uou think of me,
please tell the moon!
I'll read it all
in rays that fall
on the lagoon:
you'll be so kind
as tell the wind
how you may be,
and send me words
by little birds
to comfort me!
And O my darling, O my pet,
whatever else you may forget,
in yonder isle beyond the sea,
do not forget you've married me.
QUARTET: O my darling, O my pet, etc.
CHORUS [during which a "xebeque" is hauled alongside the quay]:
Then away they go to an island fair
that lies in a Southern sea:
we know not where, and we don't much care,
wherever that isle may be.
THE MEN [hauling on boat]: One, two, three, haul!
One, two, three, haul!
One, two, three, haul!
With a will!
ALL: When the breezes are blowing
the ship will be going,
when they don’t all stand still!
Then away we/they go to an island fair,
We know not where, and we don’t much care;
Wherever that isle may be.
Solo
MARCO: Away we go
to a balmy isle,
where the roses blow
all the winter while.
ALL [hoisting sail]:
Then away we/they go to an island fair
that lies in a Southern sea:
then away we/they go to an island fair,
then away, then away, then away!
[The men embark on the "xebeque." MARCO and GIUSEPPE embracing GIANETTA and TESSA. The girls wave a farewell to the men as the curtain falls.]
End of Act I
Thomas Round (t), Marco Palmieri; Alan Styler (b), Giuseppe Palmieri; Mary Sansom (s), Gianetta; Joyce Wright (ms), Tessa; D'Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey, cond. Decca, recorded September 1960
David Fieldsend (t), Marco Palmieri; Alan Oke (b), Giuseppe Palmieri; Lesley Echo Ross (s), Gianetta; Regina Hanley (ms), Tessa; New D'Oyly Carte Opera Chorus and Orchestra, John Pryce-Jones, cond. TER-Sony, recorded June 23-27, 1991
Richard Lewis (t), Marco Palmieri; John Cameron (b), Giuseppe Palmieri; Elsie Morison (s), Gianetta; Marjorie Thomas (ms), Tessa; Glyndebourne Festival Chorus, Pro Arte Orchestra, Sir Malcolm Sargent, cond. EMI, recorded Mar. 11-15, 1957
UPDATE: FOR A POSTSCRIPT TO THIS POST . . .
. . . check out the August 23 "Sunday Classics Postscript" post "Poor Arthur Sullivan never knew how well he had succeeded as a 'serious' composer."
#
For a "Sunday Classics" fix anytime, visit the stand-alone "Sunday Classics with Ken."
No comments:
Post a Comment