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Tue, 23 May 2000 10:42:40 -0500 |
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Chris Webber replies to me:
>>I can't imagine Glyndebourne reviving the operettas, as the festival
>>did (and EMI published in what remain for me the best recordings) in
>>the Fifties.
>
>I'm open to happy correction, but I can't recall that Glyndebourne ever
>staged any of the Savoy operas. The recordings (under Sargent) were made
>with the Glyndebourne Chorus of the day, but I think that was about the sum
>of it.
I stand corrected. I was going on dim memories of liner notes.
>The Sargent/EMI 'Glyndbourne' sets of Gilbert and Sullivan ... have
>always provoked a mixed reaction. It's perhaps fair to say that in both
>cases musical values were high, whilst theatrical ones were left to fend
>for themselves.
>
>same period - let alone the classic accounts (some conducted by Sargent
>himself) from the 1920's and 30's.
Just finished listening to the Sargent Mikado. Wonderful. On the other
hand, I would agree with Chris's judgment of Sargent's Pinafore. I would
never call the Godfrey/D'Oyly Carte recordings lively or sparkling. To me,
it was music-making in tones of brown, as drab as the last days of the
theater itself.
Steve Schwartz
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