Such brilliance. Has there ever been a more concise plot mixing drama with comedy which sets this piece apart from the rest? The ACT 1 finale has so many fine moments. Sullivan poured his heart into this score. Thanks Chris for sharing.
I completely agree with you. Sir Henry Lytton wrote: "The facts are these. Gilbert had conceived and written a tragic ending, but Grossmith, who created the part, and for whom in a sense it was written, was essentially the accepted wit and laughter-maker of his day, and thus it had to be arranged that the opera should have a definitely humorous ending. He himself knew and told Gilbert that, however he finished it, the audience would laugh. The London public regarded him as, what in truth he was, a great jester. If he had tried to be serious they would have refused to take him seriously. Whatever Grossmith did the audience would laugh, and the manner in which he did fall down at the end was, indeed, irresistibly funny. "The first time I introduced this tragic version of the part was at Cheltenham. For some time I had considered how poignant would be the effect if the poor strolling player, robbed of the love of a lady, forsaken by his friends, should gently kiss the edge of her garment, make the sign of his blessing, and then fall over, not senseless, but - dead! I had told the stage manager about my new ending. From time to time he asked me when I was going to do it, and then when at last I did feel inspired to play this tragic denouement, what he did was to wire immediately to Mr. Carte: "Lytton impossible for Point. What shall I do?" "Gilbert and I, when we had become close friends, often had long talks about this opera, and particularly about my interpretation of the lovable Merryman. I told him what had led me to attempt this conception, and asked him whether he wished me to continue it, or whether it should be modified in any particular way. "No," was his reply; "keep on like that. It is just what I want. Jack Point should die and the end of the opera should be a tragedy.""
What wonderful sound! The strings are a little overpowered at the end of the Overture--nevertheless brilliant. Were the spoken parts done by the singers? Or not, as in other BBC G&S recordings?
As I listen to this, I am wondering whether you might have a complete recording of Maritana. The comparison would be very instructive. Many thanks again. UPDATE: Don't worry, I have just found one on RUclips.
I have the 1931 Columbia set which I've had cleaned up and looking for a home since 2007. That was long before the days when RUclips would accept such things. I'll put it on my list for uploading. There's also the excellent modern Irish recording, but I don't want to get involved in copyright problems with that.
@@webrarian Yes, thanks, I hadn't realised it had been recorded recently. I have only got some of the old Columbia 78s somewhere in my attics which I bought from Oxfam when I was 10 or 11!
Such brilliance. Has there ever been a more concise plot mixing drama with comedy which sets this piece apart from the rest? The ACT 1 finale has so many fine moments. Sullivan poured his heart into this score. Thanks Chris for sharing.
Fantastic to hear the dialogue as well as the music. Thanks for posting this.
Dear Chris, again thank you for posting this wonderful recording ... so nice to hear this played by such an excellent orchestra with such panache.
The only sad one, and my favourite
I completely agree with you. Sir Henry Lytton wrote:
"The facts are these. Gilbert had conceived and written a tragic ending, but Grossmith, who created the part, and for whom in a sense it was written, was essentially the accepted wit and laughter-maker of his day, and thus it had to be arranged that the opera should have a definitely humorous ending. He himself knew and told Gilbert that, however he finished it, the audience would laugh. The London public regarded him as, what in truth he was, a great jester. If he had tried to be serious they would have refused to take him seriously. Whatever Grossmith did the audience would laugh, and the manner in which he did fall down at the end was, indeed, irresistibly funny.
"The first time I introduced this tragic version of the part was at Cheltenham. For some time I had considered how poignant would be the effect if the poor strolling player, robbed of the love of a lady, forsaken by his friends, should gently kiss the edge of her garment, make the sign of his blessing, and then fall over, not senseless, but - dead! I had told the stage manager about my new ending. From time to time he asked me when I was going to do it, and then when at last I did feel inspired to play this tragic denouement, what he did was to wire immediately to Mr. Carte: "Lytton impossible for Point. What shall I do?"
"Gilbert and I, when we had become close friends, often had long talks about this opera, and particularly about my interpretation of the lovable Merryman. I told him what had led me to attempt this conception, and asked him whether he wished me to continue it, or whether it should be modified in any particular way. "No," was his reply; "keep on like that. It is just what I want. Jack Point should die and the end of the opera should be a tragedy.""
What wonderful sound! The strings are a little overpowered at the end of the Overture--nevertheless brilliant. Were the spoken parts done by the singers? Or not, as in other BBC G&S recordings?
Ii lk
I likee this
As I listen to this, I am wondering whether you might have a complete recording of Maritana. The comparison would be very instructive. Many thanks again. UPDATE: Don't worry, I have just found one on RUclips.
I have the 1931 Columbia set which I've had cleaned up and looking for a home since 2007. That was long before the days when RUclips would accept such things. I'll put it on my list for uploading. There's also the excellent modern Irish recording, but I don't want to get involved in copyright problems with that.
@@webrarian Yes, thanks, I hadn't realised it had been recorded recently. I have only got some of the old Columbia 78s somewhere in my attics which I bought from Oxfam when I was 10 or 11!