The D'Oyly Carte Company takes another shot at Iolanthe; is it a hit or miss? This recording is good first of all, and shows that Gilbert and Sullivan Opera is not a thing merely of the past; but three differences between it and its 1960 forerunner show its ups and downs well.
The main difference between this account and the D'Oyly Carte's 1960 recording, is, of course, dialogue. As many have mentioned, it is a matter of taste whether or not you want this other half of the opera. I prefer it personally: words can be music just as much as music itself. I own the 1960 recording and do not wish that it did not have the dialogue, even after many, many listenings. Gilbert's wit has almost as much repeat value as Sullivan's music in a way, and if you do not want to hear a certain bit of dialogue, really, all you have to do is press the "forward" button on your stereo. And all this aside, it is a little odd to hear Iolanthe's touching sacrifice one moment and then have everyone singing about how they're all going to live happily ever after the next. Finding the libretto through the internet may help to create a more logical flow for the listener.
But enough about the dialogue. Here is the second difference: three musical variations, two of which are minor. The major change is an addition, the inclusion of Strephon's Act 2 song "Fold your flapping wings." It is nice, but I agree with Gilbert and Sullivan in that it didn't really fit in as well as everything else. It does fit, just not as well as it could have. Also of note is a brief but charming cadenza by Phyllis when she reveals herself to Strephon in the Act 1 finale. It stops the action for a moment, but only a moment. It is a nice little bonus, but not a main point at all. The third musical difference that I have noted is that the Lord Chancellor, Richard Suart, sings his lines rather than speaking them as John Reed does just before the Fairy Queen's last entrance (I don't want to give the plot away!), and I find this a little less touching, though it doesn't really matter overall, as the change in Phyllis' part.
The third notable difference is a difference that you will find between any two recordings: performance.
As far as soloists go, most of them are pretty good in the Sony version to be sure, particularly Jill Pert, who manages to convey the Fairy Queen's character well even without dialogue (she is very convincing when she gives her punishment for the Peers). The three sopranos (Phyllis, Celia, and a second soprano, Leila) could have been a little more sweet toned, but are still fine enough. Iolanthe sings very well, though she is forced to go a bit fast in her Act 2 recitative and ballad, losing a bit of the beauty that characterizes the whole of this opera. Strephon starts out fine, but sounds a bit choppy in the faster moments of the Act 1 finale. The two earls sing acceptably, but if you've heard Donald Adams as Mountararat, you don't really take as well to anyone else playing the part as you would otherwise, though the present Mountararat is still quite fine. The Peers' laughing in the Act 1 finale sounds contrived.
The Lord Chancellor is the sticking point for me. He is fine, but the tempos chosen by the conductor, John Pryce-Jones, are much to fast for The Lord Chancellor's first two patter songs. The charm of "The law is the true embodiment" is almost lost as Suart attempts to keep up with his accompaniment. He manages, but it could have been better. His "I went to the bar" nears annoyance at times, but his characterization of different professions at the end is completely delightful (if inaccurate - there is nothing boring about church work). And really, he isn't the best patter man the D'Oyly Carte has had (though he is good). That title would have to go to either John Reed or Martyn Green, if it should be given at all.
About the performers in general; at times, they seem a bit undecided about exactly what they want to do. In some places, the singing is articulate and even choppy, and at others, a bit too legato (see Montararat and Tolloller's duet after Strephon tells them he is Phyllis husband to be). they pronounce "again" or "against" in the American manner, which isn't a problem except when the word comes at the end of a phrase. But this is carping. These are fine singers.
The orchestral playing, as I and others have noted, is faster in places. At times this is effective, but in patter songs it is almost unacceptable. In addition to "The law is the true embodiment," "When I went to the bar" is also almost too fast. I say almost too fast, because both are still okay; they are just at the fastest tempo possible without losing it. Not all tempo differences are those that are taken faster. Strephon's entrance is almost too slow ("Good morrow, good mother"). The recording quality is good. It brings a bit more clarity to the voices so that the words are understood better than in the 1960 recording, but the accompaniment is not as consistent. In this I mean that at times it sounds nearly recessed ("Iolanthe, from the dark exile" and "Darkly looms the day") and at other times almost overbearing (the drums in "It may not be for so the fates decide"). I don't know if this is because of Sony or Pryce-Jones, but it isn't as prevalent as it could have been. In the end, all it does is take away from the bite of some of Sullivan's orchestration.
So where does this leave us? We have two recordings that I have mentioned (though there is another on EMI with Sargent conducting that is available only through the complete set of Sargent's Sullivan recordings). The 1960 version has dialogue and music performed very consistently, showing Sullivan's invention in the best light. The present Sony account is good, but is only recommendable to those who do not want dialogue. Go for the 1960 version if you want dialogue or don't really care. I find it more musically convincing overall, and the choral singing is a bit smoother and more pleasant come to think of it... But anyway, this 1991 recording is best to buy in addition to the earlier ones, not in replacement of them.
New DOC Iolanthe is best available This is the best recording of my favorite G&S opera ever released. The chorus, particularly, is outstanding and understandable. John Pryce-Jones's tempos are, generally speaking, a good deal faster than Isidore Godfrey's 1960 DOC decisions, and the result is an exciting performance that is refreshing upbeat. Richard Suart's Lord Chancellor cements him, in my mind, as (at least vocally) the best patter man the D'Oyly Carte has ever used.
The inclusion of Strephon's second-act ballad is a nice treat, along with a couple of other smaller musical surprises, like a Phyllis cadenza in the Act I Finale.
There is no dialogue in this recording, which I feel is an advantage, but that is purely a matter of taste.
A Strange Opera; Good Performances Though The production is fine, the performances are all good, but I find that this opera leaves me a little cold. It is too outlandish (if that is possible). I guess it is what it is; marrying Gilbert's interest in fairy stories with his satire of Parliament. What an odd mind Gilbert must have had to write this libretto.
Like anything else, though, if one loves G&S, this is a good CD to have in the collection; and the patter song in this opera is perhaps the hardest in the entire G&S inventory, finely done by Richard Suart as the Lord Chancellor.
Excellent performances; the score is excellent.
Superb Who cares that the dialogue is not included? With such a wealth of riches - from the fresh and vibrant conducting of John Pryce-Jones to the admirably disciplined chorus - this is first rate G&S. And for my money its the best that has yet been put on record, the worthy efforts of Mackerras and Telarc not excluded. Jill Pert is a wonderful Queen of the Fairies, Richard Suart continues a fine tradition; all in all its outstanding. Maybe the dialogue might have been a benefit, but with performance standards this high I'm happy with whatever D'Oyly Carte care to dole out!
No Dialogue? -- No Thanks A G&S recording without dialogue is not worth buying -- it has the hallmarks of a quicky for the bargain-bin market. A critical part of G&S is Gilbert's witty and topical dialogue; without it a G&S performance becomes little more than a concert of pleasant Victorian ballads. The best voices in the world cannot redeem the act that you will be getting only half a performance. Would you go to a D'Oyly Carte performance that advertised "No Dialogue"? A handful might if it were half price, but I certainly wouldn't.
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