BBC National Orchestra of Wales David LloydJones

On for Saint George!

Jim D. | NYC | 03/05/2010

(5 out of 5 stars)

"Though it was the lighter music of the Savoy operettas that made him famous (and rich), Sir Arthur Sullivan longed to make his mark as a serious composer. In 1890 he was given the chance to compose a grand opera in English, based on 'Ivanhoe,' Scott's popular novel of chivalry. It ran for 155 consecutive performances, was given five more times afterwards, then basically vanished from the stage; this is the first professional recording of the entire work. The text isn't any great shakes--Julian Sturgis was no W.S. Gilbert--but much of the music is well worth the wait. Freed from the restrictions of the singing actors and small pit band he normally wrote for, Sullivan gives his lyrical side full rein. While he tried to move away from his usual "numbers opera" style, and largely succeeds, the famous character song "Ho, Jolly Jenkin" and a marvelous double-chorus would be at home at the Savoy.

The orchestra and chorus are first-rate, as you'd expect from Chandos. Toby Spence (who could surely headline a new G&S cycle ) lends his ringing voice to the hero, and there are two fine sopranos--Janice Watson and Geraldine McGreevy--as the women who love him. The booklet contains detailed notes (history of the original production, Sullivan's use of motifs, etc), and full libretto."

A worthwhile curiosity

S. Wells | California | 03/06/2010

(4 out of 5 stars)

"Although I may not share the general enthusiasm with which this recording has been greeted on the Internet, I did enjoy hearing it and will probably return to it with pleasure. Is it a lost or neglected masterpiece? Not in my opinion.

I found the first act to be very dull. The performance really didn't pick up until the quite thrilling chorus "Plantagenesta!" in the final scene of the first act. Acts Two and Three are much more interesting. But on the whole I thought there was an odd lack of melodic sweep throughout the work. True, Sullivan was trying to define a truly "English" style, but what comes across has about as much romance as bangers and mash when compared with the late romantic music coming from across the channel - particularly from Italy and Germany - at the same time. Don't get me wrong, though. There are some wonderful passages of music. The singing contest between King Richard and Friar Tuck in Act Two is delightful and Act Three has a beautiful quartet.

On the whole, I thought Rebecca has the best music and the part is very well sung by Geraldine McGreevy. Indeed, the recording boasts an excellent cast in all parts. King Richard gets a much larger part in the opera than in the novel and Neal Davies presents humour, nobility and fine singing in the part. Peter Rose and Toby Spence as Cedric and Ivanhoe also deserve special mention. Catherine Wyn-Rogers came across as both addled and creepy as the crazed Ulrica. The Lady Rowena is sung by Janice Watson whose tone is a bit blowsy for my taste. (I thought the same of her Elisabeth of Valois in the recent Opera in English recording of "Don Carlos.")

Enjoy this recording for what it its - a worthwhile curiosity."

A Really Good Try, or Three Strikes and You're Out?

Terry Carroll | Canada | 07/05/2010

(3 out of 5 stars)

"I first became really enamored of the Gilbert and Sullivan operas when I was in the senior years of high school. I had an aunt who was a drama teacher and who put the plays on at her school. From there I branched to the D'Oyly Cart recordings and later to the University of Michigan sets. By the late 70's I was ordering obscure discs directly from Britain of Sullivan works without Gilbert such as "The Golden Legend" and "Emerald Isle". That brings us to "Ivanhoe".

In the middle 70's there was only a terrible amateur recording from "Rare Recorded Editions". It was in mono and taped from some one in the audience at an amateur performance, and then pressed on scratchy LPs. You had to be really interested and make a real effort to hear the actual opera through all the poor sound and earnest but largely incompetent amateur cast. I found my mind would wander, as I tried valiantly to concentrate on what was going on and follow along. I hoped that someday there would be a proper recording.

In the early 90's what was called a "semi-professional" recording by the Prince Concert was available. Again, I listened carefully, and was able to follow along with the libretto this time but still, I found my mind would wander, as I tried valiantly to concentrate on what was going on and follow along.

This week I received my copy of the new recording on Chandos. The singing and playing both are wonderful. For the first time I can make out just about every word but still I find my mind wanders, as I try valiantly to concentrate on what is going on and follow along. I have come to this conclusion I am afraid. No mater what recording you have, this opera is just plain boring! Sorry, maybe on stage it is better, but I picture people dressed as knights and fair damsels standing in the middle of the stage, singing, and barely moving. Maybe it is just me, but I can' listen to more than about 15 minutes before I find myself not really paying attention, and thinking of something else. If I just listen and try to concentrate with my eyes closed, I am a goner! Before and after "Jolly Jenkins", it is impossible to keep awake.

This set looks nice on the shelf beside my other CD sets, and the completest in me is satisfied, but that is about all.

"

A lost masterwork

R. T. Combs | Chicago, Illinois | 07/18/2010

(5 out of 5 stars)

"Sullivan's only grand opera, Ivanhoe, is generally considered a failure. This recording proves otherwise! One must admit that the libretto is less than wonderful, but that is attributable as much to the conservativeness of the Victorian era as to any lack of skill on Sturgis (the librettist's) part, and the music is really beautiful; the words set with Sullivan's accustomed flair, the melodies memorable and much of the orchestration truly magical.

There are several other recordings of this work but this one seems to me to be by far the best. The voices are excellent (or at the least, competent) and the pacing and shaping of the work is splendid. Lovers of the Savoy operas will fnd a great deal of Sullivan's pleasing music that will be new to them.

Many less worthy operas are revived with great regularity and one can hope that this recording will interest some contemporary companies to take a chance on it. We don't have that many excellent English operas --- especially before the twentieth century!

This is a recording not to be missed!"

Misguided Effort

Philip A. Kraus | Chicago, IL United States | 05/10/2010

(3 out of 5 stars)

"If you are a lover of the Gilbert and Sullivan operettas, then of course you must hear Sullivan's Ivanhoe and

thank the heavens that he concentrated on operettas. Although it is splendid to have a professional recording

of the composer's only grand opera, Sullivan lack of harmonic and melodic invention in the work is shocking when

you are are acustomed to hearing his delightful operetta scores. It just sounds like he didn't have his heart in it. The libretto by Julian Sturgis is very stale without much cleverness and practically no rhyme. The transitions are clumsy; acts end suddenly. There is also a failure to build a true climax in many of the scenes. There are some pretty arias (particulary the one for Rebecca) and interesting choral scenes. But it all adds up to less than the experience you might expect. One must wonder how much better a Gilbert libretto would have been for the piece and how much better Sullivan would have probably responded.

However, some of the fault must go to Chandos's misguided effort. Although there is excellent playing from the orchestra, David Lloyd-Jones seems bored with score. Every "Allegro" is moderately taken. Nothing moves; there is virtually no interpretation. I sat listening to the reading with the vocal score and all sorts of opportunities for dramatic thrust and theatrical effect were left behind in a generally thoughtful, by the book, safe reading of a score that cries out for a conductor's imagination. Beecham conducted the work and I can only think how much better it must have sounded with his added sparkle.

The second major disappointment is the poor level of singing from some of the principals. In particular, Janice Watson's Rowena is a disaster. The voice is thin when a voluptuous tone is obviously required. Everything above a

high "G" is forced and the upper notes around "Bb" are pushed in what can only be considered an amateurish way.

There were better sopranos in D'Oyly Carte and Malcom Sargent recordings of the operettas. Additionally, many

of the baritones in the recording spread badly above a middle "C". In particular, Peter Rose as Cedric, Matthew Brook as Friar Tuck, and Leigh Melrose as Issac all have poor upper registers and simply bellow the climatic passages. Stephen Gadd is excellent as Prince John and although Neal Davies displays a good solid tone as Richard, he barely has the low notes in what should have been cast with heftier bass-baritone.

Curiously, the two tenors do themselves justice (contrary to Gilbert's parody of them in Utopia Ltd.). Geraldine

McGreevy as Rebecca is everything Ms. Watson is not; beautifully intoned singing with a decent upper pianissimo

and steady high notes. Lastly, the character of Ulrica requires a wonderful Gilbertian contralto. Catherine

Wyn-Rogers is a fine singer, but simply not dark or bold enough for the part.

Perhaps the best thing in recording is the choral contribution which is excellent throughout.

One must be grateful to have at least a "musical" performance with so-called professionals. However, one must

wonder who is running the casting of singers at Chandos; or more to the point, one must decry the sorry state

of British singing if this is the best they can do."

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