Customer
Comments
Most
recent first
Jim Craig
I'm delighted to say a large packet arrived from Jim Lockwood last week - I've been working my way through them. I was very impressed with the CDs themselves - Verbatim Inkjet printable - I have been told that Verbatim are very reliable and they look very smart. So far I've listened to: TRIAL/COX - both performances better than I remembered; RCA PIRATES worth having for MG's high speed patter song ... I like the Arthur Richards performance as Sergeant; PLEASURES - this is superb! I was surprised that you chose to mix up the recordings in this way - I thought each recording would be presented as originally issued - but set out this way it is a splendid concert. ... It is a pity you can't get this into the shops it would sell very well to people who just want a G&S selection. It is as good as any of the Decca compilations. Thanks Chris!
Nick Dobson
I wanted to thank you for the remarkable new Sounds on CD releases that I recently purchased through Jim Lockwood. I used to have the '74 Iolanthe and the '79 Yeomen on LP, but I didn't recall them as outstanding recordings (I had never before heard the '77 Gondoliers). Your new issues of these recordings have served to bring out qualities in the performance that I had previously overlooked. Stalwarts such as John Reed and Kenneth Sandford were superb in the earlier recordings of these operas, but the later recordings provide evidence of the way their interpretations of the roles matured and developed to bring out the humour. Barbara Lilley was never a favourite of mine, but the new releases have uncovered qualities in her voice that I had never noticed before. In short, I am sure the quality of your transfers enables the listener to hear these recordings to their best advantage for the very first time. The 1954 BBC Mikado is a real gem and the quality is not at all bad given the primitive nature of the equipment and the age of the tapes.
Michael Walters
Just been listening to "Of Pleasures There Are Many". Excellent idea, and brilliantly put together. Re 77 Gondoliers - John Reed is very good on this recording. Ha! You never thought you'd ever hear me say that, did you?! [I KNEW I'd get through to Michael one day about Dear John - actually though, Michael is also in print somewhere speaking favourably about JR in the 59 Pinafore! CW] Tony Watts' remarks are masterly. They ought to be published somewhere as an antidote to the D'Oyly Carte bashing that goes on in certain circles.
Philip Errington
Listened to the 1970s Gondoliers and thoroughly enjoyed it. John Reed and Ken Sandford magnificent in dialogue, in my opinion!
Graham Rogers
Just a quick mail to say thanks very much for the Gondoliers and Iolanthe CDs which arrived from Jim this morning ... the presentation is excellent as usual. The sleeve notes from David Steadman are especially good for these and I must say that I agree almost entirely with his even-handed critical assessments of both recordings! And fascinating to read from Tony Watts about the circumstances of the Gondoliers sessions...
[Later] ... a few comments on your 70s DC releases. In addition to the Iolanthe
and Gondoliers I've since bought the 79 Yeomen too, and as I'd never heard that
at all before that's a good place to start. Generally, I was impressed ... I
thought it was very musical, good tempi, generally excellent voices. Barbara
Lilley and Jane Metcalf are especially impressive ... they are really in their
element as Elsie and Phoebe. The biggest surprise was John Reed, who I assumed
would be too ancient to play Point convincingly but who turns in a fantastic
performance full of life and energy. ... It's essentially the most moving
portayal of Point I've heard. ... As I've said before, I love the '74 Iolanthe
despite some shortcomings. The '77 Gondoliers ... has some great elements: both
Reed and Sandford improve vastly on their earlier recording in characterisation.
... I'm very pleased to have all three recordings on CD in excellent quality
transfers.
Ian Bond
I recently purchased a batch of Sounds On CD issues from Jim. They are excellent ... I was listening to the Last Last Night this evening and it still brings tears to my eyes after 20 years. Such a sad loss.
Peter Parker
I have now listened carefully to the CDs of "The Last Night" and "Of Pleasures There Are Many". I must say that having the master tapes does make a difference. ... The clarity of the voices and instruments is something quite remarkable which I had not noticed especially before. I don't think I have played the originals in the last 20 or so years straight through. The original discs as I remember of the Last Night were not of the highest quality anyway. ... These CDs make me realise what a golden age of performers DOC had around those years.
Stephen Brier
I just thought I would mail you to let you know that the second set of CDs ("Last Night") arrived on Friday - again amazingly quickly. The sound quality is excellent - much better than I had expected. A really professional job. I am sure I shall be coming back to you again.
Mike Wild
Just finished listening to the [live 1954 D'Oyly Carte MIKADO] and was VERY impressed indeed. I have always been an admirer of Peter Pratt so I had to have this one for my collection. I must say the sound distortion disappears completely once you become immersed in the performance. There are atmospherics in the recording that are new to my ears so I was won over by the number of surprises that came up as the tracks sped by. I refer to the encores in particular. Actually, simply having the dialogue in full is enough for me. Fisher Morgan and Donald Adams sound eerily similar to one another at times. Morgan has such a rich darkness, not to mention a great bottom to his voice, quite a contrast to the light breathiness of Kenneth Sandford only a few years later. For my money, Morgan is the best Pooh-Bah on record since Leo Sheffield and Pratt's portrayal has none of the weird histrionics the John Reed had. [Note from Chris: Each to their own - I LOVE JR's histrionics and JR is my hero!] Well done to all concerned and give us more!!
Derek Mobbs
The CD's arrived safely yesterday, so thanks for those...... The 1936 Mikado is wonderful, and the sound on your transfers startlingly clear. I have known about this 1936 Abbey Road recording for some time ... It's certainly now great to have it, and I am most impressed. The highlights from the superb 1926 Mikado sound fantastic. I'm wondering if it is likely in the future, that you will make available a transfer of the complete recording, made from the original EMI masters? (Note from Chris: Yes, a project is on the cards for a brand new transfer of the 1926 Mikado which will entail the masters being pressed to vinyl especially for the project. It should be fantastic and a great swan song for SOCDs reissues of the DCs studio recordings!]
Henry Sherr
I just received Pleasures and First Night. They were first rate in every respect. The sound quality and packaging couldn't be better and very professional.
Scott Holmes
Today my 1954 MIKADO and OF PLEASURES THERE ARE MANY arrived. I cannot tell you how great I think they are!!!! The sound on the '54 MIKADO is just fine -- for it's period -- and what a pleasure to have all the dialogue!!!! I don't think we ever got the RUDDIGORE/YEOMEN/GONDOLIERS excerpts over here in the U.S. -- and they have some of my favorite people on them: especially Philip Potter!!! .... the UTOPIA excerpts haven't been released either, unless I'm mistaken. Again, thank you for these wonderful recordings and let me know if any more from the period come to the surface!!!! [Note from Chris: the Utopia excerpts have never been released on CD anywhere until now, same for the CHORUSES album, and although the RUD/YEO/GOND ("Songs and Snatches") recordings were issued on CD in the UK (and I think also AUS/NZ) I don't think it they've ever been officially released on CD elsewhere. The Phase 4 SPECTACULAR Pinafore items are also making their first appearance on CD outside of AUS/NZ. The 'PLEASURES' set is a real treasure trove of rarities! Also, yes, as a result of my note in the 54 Mikado set, another live recording of a similar vintage has surfaced - watch this space.]
Alvin Entin
I have also just finished last night listening to the complete recent release from Sounds on CD. The only thing which can be said is that a new standard has been set by Chris and Jim. I have owned the Last Night on disc, both the English and American pressings since their original release. The CD produced by SOCD is like listening to a whole new recording. I was amazed. The 54 Mikado was a real treat, but the surprise star of the collection has to be the Martyn Green Pirates. In its previous incarnations it was, at least to me, an interesting curiosity. This new CD brings out the superb acoustics of the recording hall and allows a person to appreciate several very fine performances. No, it is not the best Pirates ever, but it is now one I will listen to again.
Ian Hiscock
Having 'lurked' for a long while it is about time that I contributed to the discussion and there is no better place to start than thanking Chris and recommending the new batch of CDs. The service from James Lockwood was excellent and I couldn't believe how quickly the parcel appeared from America. I have only had chance to dip into briefly to the sets but what I heard was superb. A great fondness of mine has been the 70's recording of 'Iolanthe". My introduction to G and S was to see practically the recorded cast on stage and the LP has been a prized item ever since. It is a performance that I am very fond of and this CD transfer has brought out many details - not least on the orchestra. I do hope that folks will rush to get these recordings and re-evaluate them in the light of these splendid transfers.
Yi-Peng
At long last I
have managed to find the time to listen to the 1955 D'Oyly Carte set of Princess
Ida with Peter Pratt. I feel exceptionally pleased at the robust quality of the
transfers and the performances and I feel compelled to hail Chris as THE
ULTIMATE G&S REISSUE PRODUCER PAR EXCELLANCE. His true love of the
recordings shines through every squeaky-clean note of the G&S CDs he has
produced. … Thumbs up for such a magnificent job - and continuing to keep my
faith in your G&S efforts.
Jim Lockwood
I consider Chris
Webster to be in the forefront of the art of getting correct equalization of
voices in vintage recordings. Much of my
own current practice has been learned through collaboration with Chris.
Tom Kitson
Got the Mikado
yesterday and it hasn't stopped playing … THANK YOU SO MUCH for allowing me to
once again enjoy my favorite Mikado recording ... In 1976 when I bought the
John Reed recording, thinking it would be better because it was newer (ah! the
innocence of a high-schooler!) I gave away my Peter Pratt to a friend who
PROMPTLY sold it at a garage sale … Anyway...thanks again....I just ordered the
Pratt Sorcerer and Pirates and look forward to hearing them again as well.
Jonathan
Rhodes
What a
masterpiece this remaster is [of 57 Mikado] - I am absolutely 'blown away' by
the quality of it. Of course, I've known
this recording since we first bought a copy in 1959 but it never sounded anything
like this! I shall doubtless be ordering the companion 'Pirates' in the not too
distant future. Once again, thanks for
your superb service.
[Later] I have just heard your other three 'Peter
Pratt' CDs. They are phenomenal! … I have to confess that I had never heard the
'Pratt' Pirates before. An amazing confession from a serious G&S nut! What
a revelation! … I have at last found my 'Desert Island Disc'. Tom Round, Donald
Adams and Ann Drummond-Grant performing the 'Paradox' trio must rate as one of
the 'closest-to-perfect' recordings of any G&S number available! That will
do for me in my lonely tropical paradise …
Dan
Florip
Just today I
received an order of SOCD products through Jim Lockwood and 78s2CD, and I
simply MUST comment.
Having already
purchased most of the SOCD catalogue, I left a few of the D'Oyly Carte
electrical recordings until now, mainly because around five years ago I
purchased the Pearl 1927 GONDOLIERS/TRIAL and the Romophone 1929/30
PIRATES/PINAFORE, and therefore these (and a few more of their electrical
brethren) were not high priorities of mine from SOCD. How wrong I was to wait.
I popped in the
1927 GONDOLIERS and was absolutely shocked at the clarity. I expected it to be superior to the
The same was true
of the 1927 TRIAL, and also the 1929 PIRATES and 1930 PINAFORE. The recordings of GONDOLIERS and PINAFORE
list that Jim Lockwood was responsible mainly for the transfers, with enhancements
by Chris Webster. Excellent work, gentlemen! If anyone out there is making the mistake I
was for so long and not "upgrading" the mid-1990s reissues in favor
of the brilliant Lockwood/Webster technicolor, get on the stick and place your
order!
I also purchased
the 1936 D'Oyly Carte MIKADO, and this was of course also very well done, but
the real miracle on this 2-CD set is the few excerpts from the 1926 D'Oyly
Carte MIKADO, which foreshadow the future SOCD release of the entire recording. Bear in mind that this recording was made
*acoustically* not electrically.
However, the clarity is just as wonderful as the electric recordings
I've raved about. Henry Lytton comes
through incredibly clearly, and the excerpts are again devoid of static and
extra noise. These excerpts are
infinitely superior to the
Incidentally, SOCD
is in excellent hands with Jim Lockwood.
Jim's service was excellent and professional in every way, and the speed
was marvellous... order placed Wednesday evening, order delivered Saturday
afternoon.
[Later] I've
since listened to the rest of my order from SOCD, and I'm happy to say the 1930
PATIENCE is also a wonderful rendering, and the soundtrack to the 1939 MIKADO
film also provides some interesting surprises.
Nick Dobson
I just wanted to
thank you for providing such a valuable source of classic G & S recordings
on CD. The quality of all the recordings
I recently purchased from you greatly surpassed my expectations (and I had read
and heard some very positive comments!)
In particular, the 1920 Pirates was marvellous. The sound quality was so good that the
singers seemed to be in the room with me and I had to keep reminding myself
that the original recording was made over eighty years ago. George Baker's Major General was brilliant -
a true performance not just an accomplished singer following the score. The 1950 Martyn Green recordings of Yeomen
and The Mikado reinforced my opinion that he was the finest of the comic
baritones, but once again the sound quality greatly enhanced my enjoyment and
went someway towards assuaging my regret that I never saw him on stage. So Chris, thank you for producing these
wonderful recordings
Jim Lockwood
I just finished
listening to the 57 Mikado and am
absolutely stunned by the sound. I've
only ever heard this performance on open-reel tape, and there's no comparison. I could go on and on about why I think this is
the case, but why tell you what you already know. What you've been able to do is simply superb!
Your CD of the
1931 Ruddigore is quite staggeringly good. I am amazed at the sound quality,
not to mention the talent of the main singers …
Adam Cuerden
On the 1924/5
Princess Ida - I'll admit that the overture caused me to be a
bit worried, but then the singing began, and I was in love.
One last thing
that made me gasp in surprise: At the end of “Come Mighty Must”, the transition
into “Gently Gently” felt so incredibly right.... it was like having a missing
piece of Sullivan's grand plan returned....
Indeed, the only
weakness if such it is, is that I'd prefer a more bass timbre for the three
sons of Gama. Even still, the recording
is so absolutely brilliant, I'm sure it will give me much pleasure for many
years. Thank you so much!
Rick Krebs
Just a follow-up
thank you for getting me your 57 Pirates and Mikado and 53 Sorcerer so quickly
and under difficult circumstances for you at this time. While of course the Mikado and Pirates are
excellent transfers, your transfer of the 53 Sorcerer is absolutely
brilliant--beyond belief. It's as crisp,
clean and clear as a live performance, from triangle, bass drum and cymbal to
the great voices of my favorite vintage DOC troupe. You have a nack for making old monos sound
like new digital stereo recordings. The
booming bass voice of Fisher Morgan really thrills, as does the sweet soprano
of Ms. Harding. I have always enjoyed The
Sorcerer but my London LP did not really do it justice.
Ward Tatnall
Got the CDs just
fine and have had a full listen...really great!
The 36 Mikado meets every expectation of the advance notice. The abridged sets are wonderful ... (I knew the Sorcerer from 78s and the Pirates
from a CFP LP, but the other two are new to me and very fine.) The CDs are pristine in clarity and
balance. Great work.
(On purchasing
all of the SOCD recordings that include Tom Round (3 x 1950s Decca, and the G&S
For All series) for his friend Karen.) I just wanted
to drop a line thanking you for the wonderful G&S CD's. I travel about 3 weeks out of 4 and the CD's
were delivered the day I left on a 4-day business trip...I called Karen and I
don't think I've heard her as excited or happy in years...she listened to all
the recordings in one night and has been playing and replaying and comparing
them to the other versions she has accumulated over the years. I believe it is not a stretch to say that you
have made her happier than I've seen her in a very long time...thank you for
providing the recordings. The quality is
excellent.
Graham Smith
Well you've done
it again! Absolutely DELIGHTED with all three sets. The presence on the old [1921/2
acoustic] Iolanthe took my breath away. I used to have the 78s. Now for the first time one can hear it as a
REAL performance.
Paul Guinery
I just wanted to
say how very much I've been enjoying the last batch of CDs you sent. [1953-57 Decca recordings of Sorcerer, Ida,
Pirates and Mikado, and the 1930 Patience]
They're beautifully mastered and a joy to listen to. To have those definitive performances in such
beautiful sound is a great joy and I shall treasure them for years to come.
Ian Hiscock
I have had a
great deal of pleasure from listening to the CDs and discovering some wonderful
performances - e.g. Lewis and Lytton in the Gondoliers and Leo Sheffield as the
Judge - really very special.
Scott Holmes
(Professional opera singer)
The 1957 MIKADO
and PIRATES CD's arrived today and I can't thank you enough! They are
beautiful!!! [later] I can't tell you how much I love listening
to your CD's!!! The SOUND is incredible.
I blast them in the car on the way to the opera. Much better than we've EVER heard
Donald Weinberg
Chris … You
are not omniscient nor infallible. But, sometimes you get pretty darn
close. And, when you insisted that I get your 1950 Godfrey/ Gondoliers
(after I had already acquired the Nauxeous, sorry
Stephen
Greenhaigh
Whilst writing,
may I thank you for sending my four previous CDs [1930 Patience, 1932 Ida, 1927
Gondoliers/Trial, 1922/3 Pinafore] which I am delighted with. The mastering is superb and I am delighted to
have them.
John Bryce
Thoroughly
enjoyed the [1931/3 DC/HMV Abridged Sets CD set]. Transfers superb. Many thanks.
Rick Krebs
I am [ordering]
the 1950 Gondoliers and 1950 Ruddigore.
The Gondo will be a replacement for a VERY deficient
Paul Brock
I have to say
that that I truly believe [the 1931 Ruddigore and 1932 Ida] are absolutely brilliant. I find it quite hard to believe at times
these are 78 transfers, because they seem to resonate an unusual depth of sound
that other CD firms, which have attempted to transfer the sets and sell them as
well, have rather failed to grasp and leave a lot more surface noise than is
desired. So well done on your
first-class painstaking re-processing efforts.
Another thing … I’m very pleased to include “Tete-a-Tete” in my
collection – you can almost be sitting down with Peggy Ann Jones and John Reed
! Renewed thanks, thrilled by my latest
purchases.
Ted Zoldan
My order of the
SOCD 1950 Ruddigore arrived yesterday. I
cannot put into words my admiration of you, but the closest thing to it is
amazing. The transfer grabs hold of me
at the first of the overture, thrusts me into heaven, and doesn't let me down
until the final notes have been played. Here's
to many more succesful transactions between us. Cheers Chris.
Jeremy Rose
I'm afraid I
still haven't got around to any sort of detailed "review" of the last
batch, but one thing I can tell you is that the [1927] "Gondoliers"
transfer is nothing short of miraculous!
Yours is the 3rd transfer of this recording I have on the shelf, and is
by far the best. Some of the tracks sound as if they were recorded last week
rather than 75-odd years ago. Virtually no background noise at all... Another
triumph!
Evelyn Bird
Re
Tete-a-Tete. My thanks – It is superb !
David Pattrick
Many thanks for
the 1957 Pirates. I have been waiting nearly forty years to hear this again,
and it has been a thrilling experience. The
amazing thing is that the sound is so much better than the later D'Oyly set,
which sounds as if it was recorded in a very dead studio. It's a shame that Decca don't let you loose on
the later recording, which could certainly do with remastering - it actually
sounded rather better on LP.
The surprising
thing about the performance to me is Kenneth Sandford as the Sergeant. His
singing voice on record always seems a bit characterless (unlike his stage
performances) but here he is splendidly droll, nicely understated in a role
that can be overplayed. I can only guess
at the amount of work that must have gone into making this recording sound so
good, and am very grateful for your efforts. The orchestral sound manages to be
both full and theatrical, like a superb pit band. Well nigh ideal!
Donald
Weinberg
Sorry to impose,
but this is essential. I listened to
your 1930 Patience while reading the notes.
This is so splendid and overwhelming that I must say that if you had
never sent me anything else, this alone was worth the price of admission and
many times over.
Dean Irwin
Your disks
arrived late last week in fine shape [1927 Gond/Trial, 1951 Iolanthe and 1957 Mikado] and I wanted you to know how much I've already
enjoyed them. You've done a great job of
transferring the original formats to digital with a clarity I've never heard on
commercially available Gilbert and Sullivan historical CD's. The transfer of the Decca master tapes of Iolanthe
is especially impressive, even more so given the fact that in some places you
had to revert back to LP's due to tape damage.
Fine editing.
True Gilbert and
Sullivan fans these days have mostly have been handed the musical tradition by
their parents, to have grown up with the operas as a child. Therefore your careful work in preserving
those early 50's recordings as well as the other eras of D'Oly Carte history is
invaluable. What's also invaluable is the realization that there exist out
there other Savoyard fanatics as crazy as myself. Or rather, based on the meticulous record
liner notes and wonderful cast photo collections, MORE crazy than myself. [I can’t argue with that !! CW] Many
thanks. I'll be in touch about other
recordings. Any suggestions about
"must have" disks in your collection will be taken seriously.
Paul Brock
I think your
transfer of the 1936 Mikado (plus excerpts from the 1926 recording) is
absolutely excellent and I value it in my collection. Well done!
Laurence Leng
Re Tete-a-Tete.
Well, what a totally enjoyable couple of hours they generated.I had heard a
number of the stories before but pulling them altogether was a delight. The way
it was done made me feel as if I was in the room with them. Often I wanted to
interrupt with a question or to develop a theme further! I don't know whether or not it was scripted or
if they had just listed the areas to talk about [I believe it was the
latter. CW] but either way it was
very relaxed. The Australian interview
was very informative as well along with the
John Wise
Thanks for the
recent CDs (30 Pinafore, 29
Pirates, 31/3 DC Abridged sets)
– as always such a joy to listen to.
Graham Rogers
Thanks very much
for my recent order. Both recordings are
excellent (1924/5 Ida and 1959 Gondoliers); I am immensely impressed with the
absolutely superb work you have done on editing together the different 78
sides/takes. I have been familiar for
many years with the 1950 Gondoliers from LP, but was always frustrated by the
gaps separating the different sections, most noticeably in the extended opening
sequence. But your transfer is fantastic
– not a single perceptible join! At last
a sensitively made transfer enabling me to hear the performance as Godfrey (not
to mention Sullivan) intended.
Peter Diggens
Your CD reissues
of choice G&S recordings are incomparably better than most of those issued
on the large commercial labels, in terms of range, value, quality and
presentation.
Andi
Stryker-Rodda
I heard the [UMGASS
Grand Duke] over the weekend, and was really impressed by both the quality of
the performance AND the quality of the sound on the CD. I'm never sure what to make
of rave reviews from serious recording buffs (I'm not one, just an ordinary
person who likes to listen to a good recording occasionally)--my experience
with several opera friends has been that they carry on with great enthusiasm
about recordings I find difficult to listen to.
I guess the best word is "Wow!". Thank you so much for preserving this lively
rendition, and thank you for the care and skill you have invested in making the
quality of the sound so good. In my opinion,
there's no question but that this should supplant the D'OC recording as
"the" standard one. I know you
have heard this from many far better qualified than I to say it, but thank you
for the incalculably valuable work you are doing in preservation and skilled
enhancement.
Stefan Pilczek
… this is the
first opportunity I’ve had to congratulate you on your excellent issues. I am so glad that at long last the 1957
Pirates and Mikado have been issued on CD.
I am sure that I am not alone in preferring this excellent version of
the Mikado to the 1973 recording.
I am also
delighted with the sound quality of the 1954 Princess Ida. I had only previously heard this in Decca’s
1979 fake stereo re-issue where the treble sounded rather edgy and the overall
sound was a little blurred. There is
none of this in your issue which opens up the sound and gives it more clarity,
fullness and naturalness than ever before.
I am also very pleased that you are now completing your coverage of the
HMV electrical series of the 1920s and 30s.
Des Wilson
The parcel
arrived this morning and I have just finished listening to Pirates. I just had
to write to say how brilliant it is. What a stunning transfer! The way you have tamed the surface noise is
really quite astonishing and what I particularly like about it is the fact that
I can't hear a computer getting between me and the music as happens on some
other discs. In some ways I feel that it
is, in fact, the best recording of the opera ever made despite having several
non-D'Oyly people. I so agree with Michael Walters that Peter Dawson is superb,
Baker excellent. Oldham,
Bruce Doery
My package of CDs
arrived the middle of last week and, needless to say, you were correct in
suggesting that I would not regret duplicating (and even triplicating) some of
these recordings. I had to go out on the evening they arrived and so it was
quite late before I could even sample the goodies. I must admit that
after having put on the abridged Yeomen I drifted off to sleep only to be well
and truly awakened by the ringing out of the bell/chime during the Act 1
finale! I can hardy believe that you have been able to achieve
such clarity and fidelity of this sound.
Jeffrey Lax
Yours are the
only "historical" recordings I can listen to in my car; the others
simply aren't clear enough. It's been
Patience at home and Pinafore on the road.
I previously had the Romaphone CD of Pinafore -- one big difference is
that each singer in a group comes through clearly and separately as opposed to
"lead singer plus background sounds" (or sometimes "lead singer
plus mush" (or just "mush")).
Jeffrey
Swartwout
Thanks for the
'57 Pirates and Mikado. They're
fantastic! I've always loved Peter Pratt and these transfers let him
shine. Not surprisingly, therefore, I'd
like to order the other two recordings of his you offer. [later]
I just got home after spending a few days in
And what can I
say about this Princess Ida that hasn't already been said? It is absolutely
spectacular--sound and performance. (Well, almost all the performances, that
is--although I don't come completely unglued like some when they hear V.S.). I
had the complete set on (scratchy) London LP's--original issues I found in a
used record shop a few years ago. I've always liked it, but you've made it
sound like a modern contender and not just a museum piece. As much as the
universe is indebted to Marc Shepherd for his G&S discography, I've always
thought he takes an unnecessarily dim view of the '50s Decca series. Call me
soft-headed, but there's much in that series that is priceless!
Well, I've
rambled enough. Just know that I'll be ordering more in the near future! Thanks
for your service to G&S fanatics everywhere.
Tony Watts
The sound on
'Pirates' is absolutely superb. It is
incredible to think that the recording was made more than seventy years. The clarity is quite astonishing and for the
first time in my experience you can actually hear the ambience of the
hall. A wonderful performance too. We discussed
Chris Orr
I haven't had a
chance to listen properly yet, but I'm most impressed with the Gondoliers
transfer - having grown up with the original 78s and then the Pearl issue which
now sounds very sad after hearing yours.
Alvin Entin (an amalgam with permission of two similar
messages; one private, the other to Savoynet)
I have listened to all of Chris’ latest SOCD releases
and am in a state of disbelief. As ever
they are uniformly good but let me say that the most striking recording to me
was the 36 Mikado. A real revelation. I
have listened to this in numerous prior incarnations starting with the 78's and
advancing through Jim Lockwood's restoration. Under all of my prior listenings my complaint
was that it was a dull and boring recording with no life to it. I don't know or
understand what Chris did, but he has somehow used filters and equalization
circuits to "bring forward" the performances on the CD which has "pushed"
the voices forward creating an immediacy in the recording, and now for the
first time there is "life" in this and all of a sudden parts of it
were fun!
I can now appreciate the vocal quality of the
"young" Martyn Green and this is the best example of the young Martyn
Green available. Leslie Rands Pish Tush is a revelation and Granville is also
more appreciated. I fear nothing can improve
Curtis but the performances of Green, Fancourt and Granville in particular are
very, very good.
Even if you have other versions of this Mikado you must
get this one as well. The manipulation of the sound by Chris' techniques makes
this a whole new recording.
The 26 Mikado
highlights restoration appears to be superb and it is a teaser of great things
to come. It is clear that working with the masters Chris has been able to
reveal information previously obscured. I
look forward to the completed final product. It is different and it is better then Jim's
effort (which I still like). What Chris appears to have achieved is to have
recreated what was actually heard in the Studio or Hall during the recording. None of this magnificent recording sounds
anymore like disembodied spirits, but are now full voiced and alive. If the
rest of this recording is as good as these excerpts, the 26 will supplant my
Pratt Mikado as the one I carry in my car and listen to the most. Great
Job!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
{These comments are mainly in
connection with my latest releases - the
Green Patience and Iolanthe, the four Pratt sets and the G&S For All
series}
Allan Kohrman
I just finished
listening to your Pirates. How could I
have thought I would not want it? It was
so good to hear Peter Pratt again. And
your remastering is simply extraordinary.
I am a cd collector and have listened to restorations by Marston,
Obert-Thorn, and other luminaries. Yours
is the best I've heard.
Robert Angus
I've finally caught up with the transfers of the Martyn Green G&S
sets you made for me---and I must tell you that despite all the kind words
these have received on the Internet, I really didn't expect anything as
terrific as I heard. This TBJ was one of
the very first LPs I ever owned, and I was no more impressed by its superiority
to the 78 rpms I had been listening to until then than I am with these
transfers, compared to the ones I made myself from the aging LPs. Whichever of your Internet fans said that
these transfers are a revelation understates the case. Well done!
Peter Watchorn (Founder and producer of the
[The 57 Mikado and Pirates] arrived and you were right - they're simply
breathtaking! In fact, [of Mikado]
you've peformed some minor miracles with balance, especially woodwind. Especially impressive is the string playing
in the overture of "The Mikado" - and Isidore Godfrey's conducting of
the whole work – just couldn't be better. "Pirates" is no less impressive. ... Jean Hindmarsh is one of the greatest
(and most underrated) G & S sopranos - ever. I think that her performance
of "Poor Wand'ring One" is the best on disc. She has real coloratura
technique - so essential for this piece. And Peter Pratt is fabulous. Hard to
believe that he was not one of the most popular stars of the DC company. In the
patter song, he outdoes everyone else, I think.
I have heard many
re-masterings (including many of my favourite Decca ffss recordings of the
'50's and '60's, which, I believe represent a real Golden Age), but yours are
the best I've heard, without doubt. They sound warm, spacious and natural -
like the LP's but better in detail and overall "bloom". Hearty
congratulations - it's a real achievement. [later … ]
I just finished listening to both The Mikado and Pirates under a set of
Sennheiser 580 phones (the ones we use for all our editing and mastering) and I
have to say that your work is really amazing.
Ross
Sadler
Thanks very
much for the CD transfer of the Pirates.
It is really well done and brings back the way my LPs were when they
were new. In fact, I think that your
transfers bring out the qualities in Peter Pratt's voice much better than the
LPs. I thoroughly endorse David
Steadman's remarks about everything (what an inspired simile about Jean
Hindmarsh's voice). And I
know Kenneth Sandford found the tessitura of the Sergeant of Police
uncomfortably low, but I still think that he blitzes the present-day
competition. No doubt many fans of the
next D'Oyly Carte set would howl me down over this, but I never impressed by
Brannigan.
(later) Thanks very much for the
recordings that you recently sent me of Iolanthe and The Sorcerer. They were really great. Iolanthe was available here on quite a good
Decca Viva LP transfer and so I had a fair idea of how good it would
sound. Needless to say, your transfers
didn't disappoint.
But The Sorcerer was a revelation. Having only heard the old highlights that used to be available here on LP, I was none too impressed. It's quite clear to me now though that it was the recording rather than the artists that was to blame. I did not think Peter Pratt was terribly good and as David Steadman implies, Godfrey was probably at fault for not having transposed some of the music down for him. But your transfers make it very clear that this is a very high standard performance indeed. (Whoever wrote that bit in the G&S Discography page about his diction being bad in the patter song, had obviously not had the benefit of your transfers either. Makes you wonder how many other musicians have been wrongly taken to task over the years). The others are also wonderful. I've always had a lot of respect for Fisher Morgan and this record really shows what he could have done. I've never heard Ann Drummond Grant sound as good as she does in the Act II duet. So I've now sent off an order for the 50's Patience and Ruddigore as well as a replacement for my LP version of what I think is the best Mikado of all - the one from 1957. Look forward to receiving them.
Tony Gower
I have just finished playing through the six Decca releases announced by Chris in his posting of 6 June. The 1950 Iolanthe and Patience recordings have been transferred with all the meticulous care we have come to expect as standard from Chris, and it was with enormous pleasure that I listened afresh to these familiar performances in a sparkling sound quality which was just not possible in the era of the LP. In spite of the considerable technical problems Chris encountered with Iolanthe, the finished CDs are nothing short of immaculate, and the wisdom of working from Decca's digital transfers taken direct from the master tapes is apparent. (This is not to say that Chris' earlier Decca releases taken from LPs are anything but miraculous, taking account of the relatively poor quality of some of the original recordings). I always felt that the long-playing record was a medium which was never perfected, and complete freedom from surface noise, rumble and other imperfections is something to cherish.
The re-appearance of The Sorcerer of 1953 and the 1954 Princess Ida is
particularly welcome. Not only are these both historic recordings, but there
are too few other recordings available of either of these works. In my opinion
they are both superior to the D'Oyly Carte recordings of about a decade later,
which are still in the Decca catalogue.
As Chris has said, the 1957 recordings of The Pirates of Penzance and
The Mikado are in a different class. Here is Decca's wonderful new stereo sound
(for the first time in G&S) combined with stunning performances from some
of the Company's best loved singers. These really are matchless performances
and it is a great shame that they have been unavailable for so long. However,
Chris has now put that right, and I for one feel I owe him a great debt of gratitude
in persuading Decca to licence these recordings for re-issue now, rather than
having to wait for 50 years to elapse.
Neal Carter-Lewis
I cannot find enough words to express my admiration for the enormous achievement that you have reached. The recordings of the 'Peter Pratt' era hit you with renewed force and fantastic ambiance. This is not to leave out the last two of the Martyn Green era, they round off a memorable cycle of performances, not least owed to the brilliance of the work you have done. Thank you for enriching my re-acquaintance with these artistes, their legacy has been richly fulfilled. The only sadness I have is that I am too young to have seen any of these … Again, my thanks!
Stan German
You, young man, are a national treasure. … I am delighted to receive
these recordings … what wonderful things they are!
IOLANTHE (51) It is every bit as beautiful and emotionally charged as I
remember it. I am dying to know where
the areas are that you consider flawed because I do not hear them. I am of the personal opinion that this may be
Martyn Green's finest hour in the recording studio. And Ella Hallman's Fairy Queen remains my
favorite even though there are several close contenders. My thanks for all your hard work on this
project. It is such a joy!
THE MIKADO (57) This was my first recording of MIKADO and even after
losing my collection in a fire I replaced it on vinyl as soon as possible. I am therefore fascinated that you have
improved the performance so drastically.
It is all a delight, but the Act I Finale borders on being a religious
experience!
THE PIRATES OF
PRINCESS IDA (54) Again, this was my first contact with the score. Although your work with the overall sound is
amazing, your ability to take the fish wife quality out of Ms. Sladen's
performance is absolutely miraculous.
How in hell did you do it?
THE SORCERER (53) Only a
brief perusal so far, but it certainly lives up to your usual standards.
Jeremy Rose
What can I say..?! You must get messages like this all the time, but
suffice it to say that if, 10 years ago, someone had told me that I would have
a virtually complete set of state-of-the-art CD transfers of D'Oyly Carte
recordings dating from 1917 sitting on my shelves, I would have thought they
were mad! It's a great service you provide, and all done with such obvious
loving care.
The MG "Patience"
and "Iolanthe" are certainly a case of saving the best 'til last and
the "Sorcerer" and "Ida" recordings are a wonderful
revelation. Great to have the stereo "Pirates" and "Mikado"
on CD at last. Peter Pratt is fast becoming my favourite G & S
comedian! Anyway, I could (but won't) go
on for hours.
Jeffrey Krebs
I have listened
to the '51 Iolanthe and the '57 Mikado.
What a fabulous job you do! The Iolanthe is very, very good with a nice,
clean sound. The Mikado is pristine--as
good to my ear as anything ADD or DDD that I take out of a jewel case
today! I can't wait to hear the Pirates
recording. Thank you again for your dedicated work in producing such
beautifully crafted CDs.
Paul Ensell
… currently ploughing pleasurably through Chris's new batch of CD's -
most marvellous!
Robert Watson
Wonderful!!!!
Andrew Ferguson
My CD
order arrived on Monday afternoon, and I want to say how pleased I am. Indeed, once again you've "waved your
magic wand" with these transfers, and they sound wonderful!
David Roberts
Bravo, Chris !! I received my CDs yesterday ('51 Patience
& Iolanthe, '57 Mikado & Pirates).
The latter were my first two G&S records and it's glorious to hear
them again. What terrific casts ! … I
particularly am fond of Hindmarsh, and think she is unrivalled in these roles.…
The sound is marvellous, and it’s great to have them all back ! Many thanks !!
Alan Borthwick
WONDERFUL CDs … They really are excellent, Chris - and your work has to be commended. The sound comes up magnificently - particularly in Mikado and Pirates, two sets that have always been my all-time favourites. I can't imagine why Decca released the later Mikado when this one has Hindmarsh, Round and Adams. However, the main reason for having these sets is the magnificent conducting of Isidore Godfrey - the greatest G&S conductor ever … Mackerras is superb - Stanford Robinson was excellent - Sargent was mixed - but Godfrey just knew exactly how to pace these works. And I quite like the rather rough "pit" sound on the earlier issues. Despite Sladen, the Godfrey Ida is a must!!! That Act 2 finale is perfection in pacing!!! I could go on (and on and on) but I'll stop now and rush back to listen again to Sorcerer - a gem of a performance!!! Keep up the good work, Chris. You've been invaluable to us G&S enthusiasts over the last few years.
Clifton
… the CDs have
arrived! They came on Friday, and they
are excellent.
Des Wilson
I decided to listen to the
D'Oyly sets in chronological order and so far have heard Patience and Iolanthe.
Wonderful transfers, and I'm so grateful.
Have [also] heard the G&SFA Trial and Box. What a superb artist Donald Adams was! I sometimes think that he would be my candidate for the greatest of all recorded G & S performers (and that's saying something!).
Mel Moratti
Am reviewing here (for the record) the following two CD releases from
Chris Webster's 'Sounds on CD'. VGS236 - The 1957 Pirates of
It was with much anticipation that I have been waiting the last few
months. I have followed, with interest, the unfolding tale of Chris Webster and
his dealing with the record companies over the acquisition of the tapes for the
above releases. Having myself worked in the tape library of RCA in
I mention all this because it does take quite a bit of effort to
actually locate the original source material from the record companies vaults
and obtaining (and paying for) the rights. All before we even get to the
editing process, etc. So good on Chris for persevering through all this and
making these CDs available to us.
Those that may remember earlier reviews I have done of other Sounds on
CD recordings will know that I try and do a comparison with any other company
source (be it
I sometimes quibble a bit at the prices - especially here in
By comparisons this time I was extremely limited. Several years ago
Decca issued a highlights from the 1957 Mikado - poorly edited and at 50
minutes not really the bargain it appeared to be. I did, at one stage, have LP
copies of both recordings but they seem to have gone the way of go-karts and
plastic table cloths! So a lot would depend on my ears.
Starting with "The Mikado" I did a side by side comparison
with the Decca CD. Surprisingly the
sound on the Decca recording was pretty good - no hint of distortion but a bit
compressed. The SOCD release opened it
up and gave it an added bloom. This
added much to some of inner wind orchestration ("Our great
Mikado"). The Decca was a titch
muffled, the SOCD was clean. Try as I
might I could not make out the favouring of the left-hand channel (mentioned in
the booklet as being on the original master tapes) on the Decca release –
[maybe] Decca corrected it when they remastered it. Anyhow the SOCD has a very
even spread throughout.
There are some, but not many, studio noises which can't be disguised, …
([though] the ugly 'glip' between "Braid the raven" and "The sun
whose rays" is no more) … but I think these are more of a worry to Chris
than the casual listener.
I am pretty safe in saying that this recording is probably one of the
best G & S recordings...ever! A cast to die for! Listen to Thomas Round's
most beautiful rendering of "Wand'ring minstrel" and the horrific
crazy laugh of Donald Adams in "Humane Mikado". A must for everyone's collection.
The 1957 "The Pirates of Penzance” is another top-belt recording
with many of the same artists. Their
solos and duets are most delightful and it’s great to have them available on CD
at long last. … The highlights must be the pairing of Thomas Round and Jean
Hindmarsh as Frederic and Mabel …
Chris has certainly retained all the qualities mentioned above with
"The Mikado". The orchestral detail is amazingly captured and the
voices are nicely spread. The studio
noises are still there in places but Chris has reduced these to a minimum.
Congratulations to Chris Webster for his amazing work on these
recordings.
Richard Duployen
Congratulations! You've done
it again Chris! One is reminded what
good and vivacious ensembles these two companies [DC and G&SFA] were! Muriel has a lovely warm voice as Aline. The
point were the voices soar (Act l Finale: "Oh!Marvellous
Illusion!"- Skitch followed by
Paul Casey
The 54 Ida is wonderful. Pratt is excellent as Gama. The orchestra is
outstanding. It is only "Minerva" that is slaughtered by Sladen. Her other numbers don't stand noticeably
apart from the DC cast.
(later) The CD Review by
Mel Moratti is rightly highly complimentary, both of the transfer and your work
in pulling it off with professional expertise, and the quality of the
performance. I have to agree. I think that the 57 Pirates and Mikado sets
are so deserving of a higher star rating than Marc Shepherd awards them.
As for Godfrey, I think at times his conducting reveals the shear
quality of Sullivan's compositions … sometimes there are little things that
just jump out at you in the orchestration and which sound so marvellous when
Godfrey is conducting ... there are refrains in the music that only seem to
emerge under his baton. Interestingly
Godfrey doesn't choose to chunter through Ida, to give a false
"lightness" to one of the less popular operas. He has a real
appreciation for tempo, and allows the music to speak for itself.
Clifford Huffman
The 1957 Mikado arrived here in the
States safe and sound toward the beginning of this past week, and I've listened
to it through two times, lost in admiration for (a) the performances and (b)
your clean-as-a-whistle sound … thanks again for a wonderful job!
Peter Denley
I am presently wallowing in the riches of the latest batch. Of the complete sets, so far I have played
the 57 Mikado and 51 Patience. I was amazed at the good sound of the latter,
far better than my old Ace of Clubs. I
played the Mikado on a long car journey through the Cotswolds yesterday, and
your marvellous transfer makes it sound better than I have ever heard. It’s a lovely performance and it lives in my
mind after many playings in the past.
My lowest expectations were of the G&S For All series, and yet
having played only Mikado and Pirates, they are a delight. The reduced sized
orchestra bothers me not at all. It
reminds me of the old DC when on tour in the provinces. More importantly some of the performances are
classics. I rate Donald Adams' Mikado as
even better here than on either of his complete sets. It represents most closely how I recall him
performing the role towards the end of his time with DC, particularly the
increasing groans of impatience with Katisha as she interrupts in their duet.
I'm sure G&S fans
everywhere are enormously grateful to you for bestowing the results of your
enthusiasm for our benefit … in this way.
I can't wait to get into the rest of the latest batch.
Once again your work has
surpassed my every expectation. The
latest batch of releases is absolutely wonderful. When recordings and performances are as much
loved as I love the first Decca D’Oyly Carte series (having grown up with
them), sometimes the memory is a bit better than the reality. However, with the latest set of transfers, as
ever, it is like hearing the recordings and falling in love with them
anew. Very many congratulations and very
many thanks.
Andrew Beighton
Like many others, I have been waiting eagerly for Chris' latest
releases and I have been taking my time getting to know each in turn. As I have
now listened to "The Sorcerer" a few times I thought I would share a
few comments.
This is really just an excuse to sing Chris' praises. The man is a
genius. The sound quality to this recording, like that of every SOCD release
has to be heard to be believed. It is absolutely amazing and I would urge
anyone who has not yet done so to place their order with Chris today. And not
just for this recording but for the whole batch. I have become that used to the
quality of SOCD releases that I now just assume that it will be wonderful and
have told Chris on a number of occasions that it doesn't matter what he
releases, I will always want it.
Anyway, on to the recording itself. This is an LP I have known and
loved for many years, even though my copy was the fake stereo version with
those stupid bells. I have always
considered Pratt's recordings to show great subtlety and skill, and so I was
not surprised to discover that the CD merely confirms this view. I think his
performance here is quite wonderful, particularly as he had not performed the
role on stage. Little moments (such as the end of the patter song where Pratt
seems to crescendo to the final note in a way that suggests that Wells is
getting carried away with excitement at his own bragging) add so much to his
performance. And it is great to hear the Incantation sung throughout. (I don't
mean to suggest that there is anything wrong with Reed's interpretation which I
also love. It's just good to hear a different reading of the role.)
The rest of the cast are equally up to the mark. Jeffrey Skitch seems
to add a wonderful sense of faded nobility to Dr Daly which I think makes his
numbers very moving. Ann Drummond-Grant is wonderful and has that all-important
ability to maintain very clear diction when singing patter in the lower
register. Neville Griffiths has a fine voice, and of course it is great to hear
Donald Adams in this early role.
Overall the recording is taken at a good tempo for my taste. I like a nice brisk pace and it pays off well here particularly in the first half of act one which can often drag, but here it plays along nicely and still makes the most of the lyrical nature which is being established.
… this is an amazing recording of an opera which I have always had a
soft spot for. It was the second G&S I ever heard and for that reason alone
I love it … I am so grateful to Chris' for giving me the chance to hear this
recording in all it's glory.
(later) I've just got around to Chris's G&S For
All transfers and they have come as something
of a revelation. They are not recordings I know well as I would usually prefer
complete recordings, so even though I had heard that they contain some excellent
characterisation particularly from Tom and Don, I was still taken aback.
But to begin with let me say
that as usual from Chris we get a very high quality of sound which allows the
performances to shine in a way that they never could on record. I know this
because I went back to my LP collection and played part of Ruddigore to compare it.
Well, starting with Ruddigore
I would have to say that I wish it were complete, for some of the performances here
have quickly become my favourites. Tom's Dauntless is wonderful and despite his
age at the time of recording I could be convinced that he was a young sailor
here. "I shipped" is sung perfectly with just the right accent and
character. Ann Hood came as a surprise as Margaret. I have always been a fan of
Ann's and wish that she had recorded more of the soprano roles for DC so it is
great to see how she would tackle the soubrette roles. I have to say that her
voice does sound a little past it's prime but this is more than made up
for with the maturity that she brings to her performance. And in my opinion
she holds her own in the Matter Trio better than anyone else I've heard.
I've heard that some people
are of the opinion that Cartier makes little attempt at characterisation, but I found
his work as Robin to be very good indeed. In
"My boy you can..." he seems to convey just the right sense of
nobility
as a
baronet in exile and there are little touches and inflections throughout which make this a well
thought out reading of the song. I loved it. Laurence Richard's
performance as Despard is amazing. I particularly liked his opening number, in no small
measure due to the quick tempo of the song which I think brings it to life. But here again
there are some wonderful touches. For example, as he sings "my expression
gets warped and destroyed" you can almost hear this happening in the voice. It
isn't overdone, as can often be the case, but perfectly judged, as it
is at the end when he sings' "we'll proceed" and you can hear the
villain’s lip cure. Absolutely wonderful.
And I've saved the best till
last. Donald's performance of the Ghost's high noon. Brilliant. Over the top?
Yes! But I've listened to so many
recordings and wondered why it has been sung so straight. IMO the song needs
to be over the top to match the OTT orchestration and Don certainly grabs the
song by the neck and gives it all he's got. If
for no other reason but this, buy these discs from Chris ASAP.
The Mikado recording left
less of a mark on me, I think because there are so many good recordings out
there
and
because I have only just finished listening to the 1957 D'O C recording (again
from Chris) and that one is so brilliant. But the same can be said of
Don here as well. If anything his reading of the Mikado's song is even more
demonic
in
the G&SFA set. And that laugh!!! How did he do that year after year?
So on the whole a great set
of discs that I would recommend highly.
John Hunter
[Re 57 Pirates and Mikado sets] … These are two of my
favourite “best-ever” D’Oyly Carte recordings and my sincere thanks for
reissuing them.
Roger Goodwin
Thank you for your masterings
of the complete G & S D’Oyly Carte sets from the 1951 Patience through to
the 1957 Pirates. They were eagerly awaited and I was not disappointed with any
of them! in fact "highly delighted!".
What strikes me about the sound you have produced (I appreciate they are
from Decca masters in the main) is the sharpness, forewardness and clarity,
which in G & S is essential - all other CD versions don't have that.
Richard Newman (on a varied
selection from the SOCD catalogue)
The brief
sampling that I've made so far exceeds any expectation that I could possibly have
had. I'll give you more detailed comments when I've had a chance to listen but
I never in my wildest dreams thought that these recordings could sound so
wonderfully life-like and that's important to me as I never had the chance to
hear the Carte during its 40's and 50's heyday. I have some of the original
78's - how you must have toiled - a real labour of love !! Bless you, Chris.
(later) Have spent a night
listening and am really bowled over by your work. I sampled the 1950's
recordings and the thing that really impressed me was not only the natural
timbre of the voices (which added so very much to the interpretive element) and
the sheer natural detail, but also the way in which you have managed to
eliminate the notorious Decca "glare" which always seems to have been
the sticking point with so many of their recordings over the years. Nobody else
seems to have done this.
The 1950 Ruddigore is an absolute triumph. After having (stupidly) lent
my Ace of Clubs set to somebody who (I realise now) had no intention of
returning it, I acquired the 1962 set in mono format and it didn't compare. You
have enabled me to hear detail and inflections that I would never have believed
possible.
And to hear those inflections in Leonard's voice is a very special
experience for me. Your transfers give it the natural warmth that it obviously
had and show how much he lived the parts that he sang and acted. Note the
absolutely natural and believable delivery of Dauntless's spoken lines in
"My Boy..." He was truly a singing actor in the way that so many
others are not. The great thing about the 40's and 50's Carte recordings is the
way in which they really could duplicate their live performances in the studio
and give a real sense of a theatre experience.
Above all, I listened to a large chunk of the 1928 Yeomen and it really
sounds like a modern recording. The voices come into the room in a way that few
other vocal transfers of recordings of this era have ever achieved. I can say that having possessed the original
78's. In particular, the chorus in
"Here's Man of Jollity" distorted and blasted - but not in your transfer.
The thing that I really must thank you for, Chris, is the opportunity
to hear so many fine performers of past years very much as I would have done
from live performance. I can't thank you enough (after one day's listening) for
that.
(later still) I am a hi-fi enthusiast and have a Class A
transistor amplifier which is normally kept switched on as it has to reach a
certain "cooking temperature" before it sounds at all reasonable.
When I made [my earlier] comments … the amp was in 1st or 2nd gear. By the
weekend, it was singing and so were your transfers. I believe that you could
teach the majority of engineers a very great deal about transferring vintage
recordings
(and later still) Although my
old amplifier is now immortalised in your notes, it has now gone the way of all
flesh and been replaced (to my bank manager's disgust) but I listened a couple
of times to the 1951 Patience and the quality of the recording staggered me. In
particular, the inflections in Martyn Green's voice are caught to perfection.
Dan Florip
(privately) I must say
the CDs are absolutely wonderful. I've
very impressed with Peter Pratt. It
seems to me that his voice is a cross between Green's and Reed's. I'm so
impressed with the 57 Mikado that I keep listening to it, and the others are
not getting equal time! A splendid job
all around. I shall be ordering the rest
of the lot soon.
(To Savoynet) I wish to be
the next to offer a glowing review for Chris Webster's latest work. Aside from saying that I feel each of the
Peter Pratt recordings is in beautifully clear sound (especially the stereo
MIKADO and PIRATES), I cannot comment on the technical side of these new
releases, as I have never heard their LP versions, and therefore cannot make a
comparison. However, knowing Chris's
levels of quality and effort, I can only assume he's worked miracles once again
in this department.
I'd like to throw in my two cents in reviewing the performances, and as it's been a busy summer, I can only at this time comment on the 1957 MIKADO, as I haven't given the others more than "spot listenings" thus far.
Easily, this is the absolute best MIKADO on record when one combines
the quality of the performances with the advanced technology of stereo sound
[he said, throwing a bone to the 1926 fans].
From the first few bars of the overture, I fell in love with the sound
and acoustics. I was absolutely
delighted with Godfrey's tempi throughout, which may be a touch on the quick
side, but which amplify the sparkle of the score. A particular delight was the triangle
throughout... just strong enough to be heard, but not overpowering.
And to the individual performers... Upon first hearing Peter Pratt in
the 1959 GONDOLIERS radio broadcast and in the Royal Albert Hall video, I was
not particularly looking forward to his four studio roles, but good
heavens! It is as if he took
pleasant-voice pills before entering the studio! I find him to be an extraordinary bridge
between the measured tones of Martyn Green and the nasal and scratchy voice of
John Reed. My only qualms are that Pratt
doesn't quite hit many of his pitches just right, and often seems to race the
orchestra (i.e. the List Song), but let that pass. His songs were targets of my "spot
listenings" in all the sets, and I was quite pleased.
After purchasing the professional Nanki-Poos of Derek Oldham, Leonard
Osborn, Richard Lewis, Phillip Potter, Colin Wright, Bonaventura Bottone,
Anthony Rolfe Johnson, and the boys from 1917, what a blessing to finally hear
a GOOD, SOLID performance of the role from Thomas Round! All I can say is that in my opinion he beats
the others hands down. By far Round
sings the best *Wand'ring Minstrel* I have heard, and his interactions with
Jean Hindmarsh in the duet are priceless.
Not being a huge Kenneth Sandford fan to begin with, I must admit that I enjoy his younger Pooh-Bah more than the Pooh-Bahs he would record in 1966 (film) and 1973. Although not quite yet in his prime, his diction is far better and he doesn't blow air like a vacuum sweeper set to reverse, as he would in the 1970s. Ken's "tra-las" in *So Please You Sir* are very nice.
Alan Styler's Pish-Tush... MARVELLOUS. He seems to have grown vocally more into the role since his recording in 1950. What a pity that all of the operas didn't have "juvenile baritone" roles for him to record.
Donald Adams gives us a good performance in his first recording of the
title role, but I must confess I'm more of a sucker for his recordings in 1965
(Phase 4) and 1992. I believe his laugh
to be longer and more devilish in the later recordings. I don't believe his rendition of the Mikado's
song to have changed much in 35 years, however.
That laugh is generally good in any decade! How on earth did it not destroy his vocal
chords?
Finally a Katisha that I adore!
What is quite possibly my least favorite character in the entire canon
comes to life for me through Ann Drummond-Grant! Perhaps all contraltos should be plucked from
the ranks of the aging soprano population.
I don't pretend to know much about the mechanics of singing, but Drummie's
voice still has the quality and clearness of a good
soprano while hitting the low notes that are usually left to the
manly-sounding contralto (i.e. Gillian Knight).
Drummie seems to sing the role with ease, with nothing forced.
Jean Hindmarsh sings a beautiful Yum-Yum, and I have a particular
fondness for her rendition of *The Sun Whose Rays*. All three of the little maids blend well
together and are quite a delight. Beryl
Again, overall this recording is superb! Although I'm disappointed that John Reed
wasn't involved, I feel that there's no room for him... I'd hate to lose Peter
Pratt's Ko-Ko. However, I must confess
that sometimes I think I can hear him in the chorus... so he's there in spirit.
Special thanks again to Chris Webster for allowing me to hear such
wonderful blasts from the past. If you
haven't ordered these recordings already, get on the stick!
Kevin Hewitt
Simply wonderful
reproduction. Congratulations.
Jim Griffin
I received your CD's and have listened to them, but only now have I taken the time to really start listening to them. … the sound was so good, so clear, I could hear orchestra parts that never appeared on the LP (57 Mikado). I would like to do a comparison between your disk and the LP (said he knowing that it will be like day and night). One of those little gimmicks one can pull off when visitors come - "listen to the difference!"
However - I have only had time to really listen to the G&S For All
recordings of the Mikado and Ruddigore.
We drove to
Stan DeOrsey
WOW,
your package of CDs arrived today …
Fantastic (and I haven't heard them all yet).
Lawrence
Received the sets this past
weekend. Started listening and could not stop.
The early stereo transfers of Mikado and Pirates are FABULOUS! It is a pity that they were not issued
originally instead of the later issues which are simply not as good. The remaining earlier sets are improvements
over the treasured LPs that I own. The remastering is simply spot on. Many thanks for rendering this repertory into
a convenient, take anywhere format. Always found it challenging to play the LPs
in my car!! Keep up the good work
L R Wallace
I have really enjoyed the
Peter Pratt Pirates – a magnificent performance in a vintage Kingsway Hall
recording. [Also …] I have very much
enjoyed the Peter Pratt Mikado – your rebalancing of the channels has worked
wonders, it really brings the performance alive.
Jim Griffin
(A private note) Just a short
note to say that the CDs arrived … I am
so impressed - I am blown away - it is like completely new recordings – I can
hear things I never heard in all the years of listening to the LPs. Pirates first and then of course I had to
listen to Donald Adams do the Mikado's song and “When the Night Wind Howls” and
the trio from Mikado - "I Am so Proud".
It is like standing beside them while they are singing - what a
fantastic job you have done. I am looking
forward to enjoying these disks time and again - the difference between the LP
and your CD is like day and night!
(To Savoynet) I just spent a morning … listening to the newly arrived CDs from Chris
Webster … what a treat. (Interesting how
fast the post was for the CDs - sent on Tuesday from
I still have the Mikado to hear - (well not quite true - I jumped ahead
to listen to Donald
If you haven't heard these recordings, do
yourself a favour - they are impressive!
Mort Harman
The [1950 Yeomen] arrived last
Wednesday just as we were leaving for a few days.I am thrilled with it. You
have done a great job. Martyn Green never sounded better. I will be back for more.
Paul Casey
I took the 1973 UMGASS Grand Duke recording away with me on holiday
last week. I listened to it quite a bit on my walkman, and was more attentive
to it because I was listening through earphones.
OK, the 76 DC recording has a professional orchestra and cast, but the
UMGASS recording is so much more vivid and entertaining. Eric Stern brings the
music to life in a way that the DC recording fails to do. I have found myself
humming refrains from this opera since my holiday, without realising they are
from the Grand Duke. In fact a couple of times
I have thought "where does that catchy tune come from"? Only
to surprise myself that its from the Grand Duke!
After my holiday I thought “I will revisit the DC recording, which will
now jump into life, because of my new
appreciation”, but, I found myself bored by it.
In fact it seemed like a different work. It lacks the enthusiasm or self
belief of the UMGASS recording. It just goes to show that the success of a G & S opera rests as much in the
performers as in the raw material of the author and composer.
Rev. Michael Burgess
I want you to know how truly delighted I am with the CD's I received
earlier in the week. Familiar as I am
with the recordings (they are the ones I was brought up on) your remastering
presents them in a completely new way.
It's like listening to completely fresh performances! For example, it had never previously
registered how incredibly smug Martyn Green is as Bunthorne, when he announces
that "I've put myself up to be raffled for!" Your work on these discs - and
on those previously issued - has brought me great pleasure. Thank you. I am today [ordering] the
two 1957 recordings of "Pirates" and "Mikado". I
should be very grateful if you could get these off to me as quickly as you can,
please, as I am going out of town [soon] and will be gone for an entire month.
Of course, it would be sensible for me to delay ordering the CD's until I get
back, but I am so anxious to hear them that I can't wait!!
Bill Love
I first
heard the 1950s recordings back in the early 70's when Decca rereleased them
with an "enhanced" stereo sound. My initial reaction was not
favourable especially the noise made by Osborn. Now that these recordings are
becoming available again in CD format I am rapidly revising my ideas.
Everything that Chris Webster has said about this singer I would now totally endorse
- Osborn is a great G&S artiste. … the 1950 DC [Yeomen] recording … has
been a revelation to me and now counts as one of my all time favourite recorded
performances.
Frank McConnell
I grew up with the '40s-'50s series, playing each probably hundreds of
times on pretty good equipment for the period, and with Sorcerer and Ida, which
I recieved from you a few weeks ago, I am once again astounded at the sound you
have wrung out of these pieces. The orchestra in paticular produces outstanding
accents that were inaudible on the originals. You've done a superb job and I
know I join thousands of others in thanking you.
Joseph Woodland
My
brother Steve sent me the latest in your series of reissues, including the
"Peter Pratt" series. Thanks
so much for the love and care you lavished on these recordings. They sound great, and you have restored to me
one of the formative influences of my childhood. Sorry to be so flowery about
it, but these records have always meant a lot to me and I'm delighted to have
them sounding so well.
John Sprengel
I play RUDDIGORE every Halloween.
I'm listening to the G&S For All RUDDIGORE and it's so exiting. I
really favor the way these recordings were done and wish they had performed the
operas complete. As everyone has said, Chris' work is top notch and the artwork
on the CD covers is beautiful.
{These next are mainly selections from the comments that I have
received in relation to my 1950 DC reissues of Mikado, Ruddigore, Yeomen and
Gondoliers}
Jim Drew
I'm listening to Act I of RUDDIGORE now. The old recording has NEVER sounded so good
before. You are to be thanked as well as
heartily congratulated for all you've done on these releases. Too bad all those buying the
Steve Woodland
(Privately) Thank you again for your fine work. They sound GREAT, and I especially love the
packaging. Congratulations to all
concerned.
(On Savoynet) I just wanted to make an unsolicited
endorsement: I just received Chris's
remasterings of Mikado, Ruddigore, Yeomen and Gondoliers. They are just wonderful, not only for the
remastering, but in presentation as well.
Run, do not walk in order to get these sets. … Wonderful!!!!!!
(With regard to an order for two 1930s recordings) Thanks so much for the prompt delivery of the
sets I ordered. I am (as always) in awe
of your work, both sonically and in terms of presentation. I had both the Ruddigore and the Yeomen on
LP, but the CD sound is incredible.
Stan German
I never dreamed that the Martyn Green recordings could be this
good. Keep up the good work and again,
my heartiest congratulations!
Received the CDs yesterday.
Sound of the first one I listened to (Mikado) is incredible.
G N Way
Thanks for sending me the 1950s Ruddigore and Gondoliers. They are simply splendid and have given great
pleasure.
Norman Vogt
I couldn't be more thrilled with the 1949/50 DOC recordings. I'm
amazed at the wonderful, clear sound, particularly on Yeomen and Ruddigore.
These are the recording of my youth and they sound better than my
original
Jeremy Rose
I have just finished listening to the CDs you sent me - twice, as a
matter of fact - once for pure nostalgia and once more with a slightly more
critical ear. What can I say? … the
transfers are amazing! Notes and artwork are exemplary (I love the caricature
of Isidore Godfrey!) and the whole enterprise has quite obviously been
undertaken with such care and affection.
Mel Moratti - “A comparison between the
Having now managed to obtain both the
Note that the Pearl Ruddigore is only available as part of a three CD
set which also includes the 1950 'The Gondoliers'. According to the producer the listener would
appreciate their having the separate acts on different CDs - so Act Two of
Ruddigore comes before Act One!! I found this very annoying. I would not have
minded Act One being split onto the third disc.
Although both CDs offer quite extensive technical notes it is Jim Craig
[of SOCD] who writes the more in-depth details regarding all the recording and
transfer problems of the time.
To hear what sort of problems are faced by the producers one should
start with the Painted Emblems section from Act 2. Not only do the originals
have fiendish distortion, especially with the timpani, but there are several
editing 'joins' which must be ironed out. My respect for Chris Webster has
increased ten fold here. Here his editing is a work of art and the hours he
must have spent splicing bits together has given us a magnificent result. The whole sequence flows and is really
spectacular.
When I first sat down to do the comparison I listened to the first six
or seven numbers of the
The
…
Distortion plagues the
One artist that really benefits from the SOCD recording is Ann
Drummond-Grant (Mad Margaret) whose Act One scene is certainly one of the best
recordings I have ever heard. In the
This is one of the main advantages of the SOCD version in that it
manages to do justice to the artists that would otherwise be overlooked. Take
for example the "As pure and blameless peasant" section in the Finale
to Act One. You can actually hear the change in Martyn Green's voice as he
takes on his new role as the bad Baronet.
Anyhow its two thumbs up for the SOCD recording. With the
Mel Moratti - “A comparison between the
I approached the first release of
Alas, any hopes I had were dashed on first hearing. Being out of
copyright anyone is now able to release these recordings which is great for the
fans but disappointing if there is a lack of care in the mastering. Anyone who has read my previous reviews know
my comments on the recent
The comparisons are between the Sounds on CD release and all others –
and there is no comparison!
Firstly for the non technical buff you will find that the
The Sounds on CD release is clean with no hint of any pre-echo or
distortion. The soloists are brightly lit and nicely forward. Because of the care Chris has taken in this
transfer it does emphasise studio noise and other sounds but this is a minor
quibble. Tape hiss is prominent in
"Comes a train/3 little maids" and one or two other places but this
is worse on the Naxos CD. For some idea
of the cleanliness of the SOCD release sample the opening of the finale to Act
1. The cymbals are nicely positioned and even the full scale ensemble work is
captured magnificently.
It is also nice to know who exactly is singing the role(s) of Go-To -
mentioned by Chris but not by
In short, the release to have is the one on the Sounds on CD
label. There is so much care and love in
the transfers that it is strange that the recording companies are not knocking
down Chris's door to get him to work for them.
Tony Gower
Following recent [Savoynet] postings
about the reissues on CD of the 1949/1950 Decca recordings of HMS Pinafore and
The Mikado, I recently bought the Naxos version of The Mikado, to compare with
the version from Sounds on CD issued a few months earlier. Whilst a very
efficient job has been done by Naxos in removing surface noise and other
extraneous pops, clicks, etc. inherent in the LP medium, the
"restoration" engineers also seem to have removed all the sparkle and
freshness which was characteristic of the wonderful new Decca ffrr (full
frequency range recording) sound. There is really no comparison with the SOCD
version which has been lovingly restored: all the subtle nuances of the
original recorded sound have been preserved and many of the Decca
"wobblies" have either been corrected or greatly improved. A *must*
for any
I feel that the whole Decca series up to
1959 is a very important part of
Chris Browne
Congratulations on the discs and presentation which are really
excellent
Neal Carter
[On 1st order - Mikado and Yeomen] I must congratulate you on the superb
quality. It was SUCH a pleasure to
reacquaint myself with these recordings and especially without the historic
noises! Again my thanks and just WOW!
[On 2nd order - Gondoliers and Ruddigore] The last issues received were a revelation. It
is so good to hear these artists in as near sound quality as they would have
wished to be heard. It is an amazing treat.
My hat off to you!
Robert Watson
I would like to say how much I am enjoying these recordings all over again. I hadn't heard the Trial recording in a very long time. Radley Flynn is a "hoot", much funnier than I remembered. And of course Richard Watson (no relation) is marvellous. What a distinctive voice he had! Whatever people may say about the musical standards of these recordings, they have SO much character that it makes up for the lapses. And you have done a great job with them. They sound clean and vibrant with lots of presence.
Paul Ensell
(SOCD wrote - After months of
preparation my CD releases of the four 1950 Decca/D'Oyly Carte recordings are
now ready and I think you will be thrilled with the performances and the transfers.
)
PE replied - I sat down and listened to Ruddigore, Yeomen and
Gondoliers yesterday afternoon … in answer to Chris's comment above "I was". Don't believe me - buy them yourself -
they're brilliant. These are recordings I recall from years ago on elderly
relatives' turntables - they never sounded this good!
Sandy Rovner
… I have also just received the
four Martyn Green/Darrell Fancourt CDs from the 1950 recordings of Ruddigore
(sensational), Gondoliers (likewise), Yeomen of the Guard (even better …) and
Mikado which I have not yet heard. Way
to go Chris! Get them whilst he still
has them!
Henry Sherr
I just received the CDs from Chris and have to tell every one of the
superior transfer quality. It is like hearing the operas for the first time and
I grew up with these recordings. They are clean and bright with no noise with
wonderful fidelity. Any one who loves
G&S should get the CDs.
Philip Sternenberg
I have now listened all the way through to Chris's MIKADO and
GONDOLIERS, and he has done an excellent job.
If you liked his TRIAL, PINAFORE, and PIRATES, you should like these
even better. One nice touch that I don't
believe he has yet mentioned is that he has removed the awkward pauses, such as
the one following "For the merriest fellows," that I believe
represented breaks between 45 or 78 sides.
Even the maligned Leonard Osborn should gain more respect from his
listeners, particularly as Marco.
Kevin Hewitt
(First comment) Am listening to the YG production. Delightful
transfer. (later) I have enjoyed
the four CDs ...... several times.
Jay Kaufman
Listening to the Mikado now and I gotta tell ya' it sounds just
wonderful. The Ruddigore sounded really good too. Can't wait to hear the
others.
Laurence Leng
I have now got round to playing all 4 of
the Decca sets and all I can say is "WOW!" They are great - the quality of the copies
makes them sound so vibrant and alive. I was so interested in the review you
sent me of [Mel Moratti’s] comparison between your Pinafore and
Stephen Jones
I received the Yeoman and Mikado recordings yesterday. The Mikado sounded great; I haven't had a
chance to listen to Yeomen yet.
Michael Burgess
Thank you for your speedy attention to my order. I mailed my request on June 4, and received
the discs on the other side of the
David Wheeler
The sound is great - can't express why, but those post-war recordings
have something that others don't.
David Roberts
I got the CDs yesterday … and listened to “Gondoliers” last night. It's GREAT !! The sound is so clean !!
Joyce Wright (yes, THE Joyce Wright)
How
fortunate we are to have someone like you, who enjoys hearing these recordings
and are willing to share that enjoyment with others. Bless you for the wonderful, brilliant work
you do …
R A Highcock
Congratulations on reproducing The Beauty Stone. My original Pearl LP was always rather
dubious in quality.
Des Wilson
The parcel arrived on Monday and I started with The Mikado. Have been
rather busy this week so only today have had the chance to do some more
listening. A few minutes ago I finished listening to Yeomen and just have to
let you know how thrilled I am. I started with Mikado and Yeomen because, for
some reason, I never caught up with any of the re-issues of these sets, so know
them only from the original LK versions. These I have been listening to for
well over 40 years so I think I can say I know them pretty well. Like so many
others I've been waiting for the day when they would re-appear on CD, but I
never dreamed that when they did they would sound so absolutely superb. Chris, you have worked wonders with this
material. I like to think I might just have some idea how many hours you've put
into this project - all I can say that all those hours of work have paid off
really handsomely. I have a strong interest in re-issue material (G & S is
only a small part of it), and I have to say that these are amongst the very
best restorations I've ever heard. The clarity and amount of detail is quite
astonishing, and I've heard things I've never heard before. What particularly
struck me listening to Yeomen this evening was the choral singing - now so
bright and forward, rather than dimly recessed as on the LP's. … I could rave on all night, Chris, but will
leave it at that.
Robert Higgs
My parcel from you arrived yesterday … Straightaway I put on "When
a merry maiden marries" and it is PERFECT - a thousand per cent better
than the Pearl transfer. No background
noise (the
Then I put on "From every kind of man obedience I expect" and
at last the intimidating cut in Katisha's voice comes across with spine
chilling clarity. As the accompanying
notes say, You wouldn't want to mess with this Katisha.
I have been waiting 17 or so years, since the arrival of the CD, for
these performances to appear and now at last they have. You have made a
magnificent contribution to the world of recorded music. Thankyou for a truly great piece of work.
G N Way
A few weeks before Christmas I sent for your re-mastered CDs of the 49
Trial, Pinafore and Pirates. I have
derived the greatest pleasure in listening to these freshened recordings, and
must congratulate you on a first rate job.
Roger Goodwin
I have just received the acoustic “Ida”
today and I am highly delighted with the sound quality, superb booklet and
pictures and overall professional and expert production values. Please find attached my order for most of your
catalogue [Mr Goodwin ordered a
further 20 titles, and commented furthe … ]
(On the acoustic series) All
CD's bring out the quality of the voices in an astonishing way with very little
background noise. Very enjoyable.
(On
the HMV electric series) Keith Hardwick's transfers are a revelation!
They are like listening to a brand new LP without the pops and clicks
(On
the 'Decca' mono Series) I echo all the praise bestowed on you from all
sources!! The only grouse I have is that I have previously bought all the
Marcia Menter
You've done a fabulous job with these CD
transfers. I think they sound better than my old Richmond LPs. So I'd like to
order another set for a friend
{Next are mainly comments that I started to collate after I issued the
1949 Trial, Pirates and Pinafore recordings - there were lots more but I
stopped collating them after a while owing to time. A few are comments that I have received more
recently about these and other sets. }
David Wheeler
Thanks for the CD's that were waiting for me when I returned home. They are really excellent and you have done a
great service to G&S fans here. The
sleeve notes are interesting, and the covers look ideal … - roll on next year
for the next batch to be ready.
Henry Sherr
Thank you for the speed sending the "49" Pinafore and Pirates
… The quality is superb. I love them. .... Please do more with Martyn Green.
Tully Potter (Editor, Classic Record Collector
(formerly ICRC), (Winter 2000, p99))
Both
Paul Howarth
The recordings are a most welcome addition to my library of D'Oyly
Carte recordings spanning the years – a collection which would be nothing like
as complete without your sterling efforts. (If I haven't said anything about
the quality of the transfers it is simply because the sound is every bit as
good as I expected.)
Tony Gower
Many thanks for sending the 1949 Deccas. Wonderful transcriptions – I am so pleased to
hear these superb recordings again and look forward to the next batch.
Christopher Naylor
Many thanks for the CD's I received today. I have played the 1949 Decca "Pinafore" and "Pirates" plus "Trial". I have, for some time, hoped that someone would reissue the 1949/50's Decca recordings on CD as I felt that, despite certain shortcomings, they would sound rather well. I must say that having heard "Pinafore", "Pirates" and "Trial" I was astounded at just how well they sound. ... Do you intend to put the whole 50's Mono series on to CD? I do hope so. Meanwhile my congratulations on superb reissues of these wonderful performances.
Neil Forsyth (a more recent comment – as you will read Mr Forsyth also bought my 1928 Yeomen set reissued under licence from EMI’s masters)
The 1949 HMS Pinafore remastering is wonderful – a really full, clean
sound that brought back some happy memories of recordings I grew up with. But the most amazing revelation was the 1928
Yeomen – remastered to a level I wouldn’t have believed possible. It’s so clear and vibrant, it’s like having
the singers in my living room!
Jay Kauffman
… the Pinafore and Pirates I
just received from you sound great and brought back some wonderful memories -
these were the first G and S recordings I ever heard via the
Paul Ensell
A big "thank you" for the work you have done in making the
old D'Oyly Carte recordings available again … You have made it possible for a
collector such as I who value the place of the old D'OC in maintaining the
tradition of performing the works of G & S to assemble such a
collection. Your work is of immeasurable value to those of us
interested in the performing tradition of the D'OC so do please continue with
your re-issues of the acoustic. electrical and, [as] they come out of
copyright, the early Decca sets.
Mel Moratti “A comparison
between the
A copy has now come my way of the 1949 '
Interestingly between the Overture and the opening number CD 1 had silence while CD 2 retained the low frequency surface noise. This also happened later in the CDs.
… it was obvious that CD 1 was producing a very different sound to CD 2. By the time Ella Halman makes her first appearance I was listening to two completely different recordings. …
CD 1 was the "Sounds on CD" recording. CD 2 was the"
The SOCD recording made the soloists shine - they had a vibrant round
sound that filled the room. The
I found no fault with the solo recording on the SOCD disc - this
certainly brought them out far brighter than I could ever imagine. "Hail
men o'wars men" just sends shivers down the spine. The best way to sample the two recordings is
the "My pain and my distress" sequence. The SOCD was as near to
perfection you could wish for while the solo voices on the
While I am not intending to review these performances from a musical
aspect, listening to these CDs again made me appreciate just how good some of
the soloists were. Darrell Fancourt is striking as Dick Deadeye, Ella Halman is
a superb Buttercup and Joan Gillingham is a prim and proper Hebe.
… if I had to choose one it
would be the "Sounds on CD" recording with its full-bodied sound and
some crafty editing.
Lindsay Wallace
I have just finished listening to the 1949 Pinafore and
Pirates/Trial. I feel I must write and
congratulate you on these excellent issues.
The sound quality and documentation exceeds what most of the commercial
“historical” CD producers are doing.
Well done again. I look forward
to the next issues !”
Ted Keane
[Re the
HMV 20s/30s electric recordings] May I
join the chorus of approbation that you (and Keith Hardwick [the EMI
transferor]) so richly deserve. These are indeed most treasurable
transfers, and will surely be a source of continuing pleasure for many years to
come.
James Tappin
Chris Webster's reissue of the 1929 Iolanthe arrived this morning. This has to be technically the best reissue of any pre-war G&S on CD. Unless I really concentrated it was very easy to forget that I was listening to a historic recording. This recording clearly shows the advantages of being able to work from the original masters rather than from records, which have (a) one more layer of surface noise introduced in the production process and (b) almost certainly been played (probably with steel needles on a wind-up phonograph) and thus are very rarely to be found in mint condition.
Artistically this is one of the classics of the "golden age"
with a uniformly strong cast, I would say that every performer is as good or
better than those on any of the other recordings. If you haven't ordered it,
and Chris has any left after Buxton, do so!
Jim Farron (Webmaster of the
G&S Archive)
Your package arrived yesterday, and I've been listening to the CD's in
my spare time ever since. I'm
continually amazed at what you are able to get out of these old
recordings. At the moment I'm listening
to the 1932 Princess Ida, and I just can't imagine that you could get such a
clean result from a recording that old -- good heavens, it's even older than I
am!
Jim Greytak
So far
I've only listened to a part of "The Beauty Stone", but it is really
wonderful.......first time I've ever heard it.
Des Wilson
This note is rather overdue, so my apologies. I just wanted to thank you for your attention to my last order, and let you know that, as ever, I am thrilled with the CD's. The electric [20s/30s] Ruddigore,Yeomen and Ida all sound simply wonderful, and how marvellous to have one of my all-time favourites Nellie Briercliffe in all three! I was particularly interested to see how you would cope with the blasting in Yeomen. I really don't see how you could have done any better.
It was great to at last catch up with the
Graham Smith
The electric Ida & Ruddigore arrived this morning - delightful, of
course and well up to your usual standard. With thanks and personal best wishes
Stuart Barker
Just listened to the '21 Pataience - this is fantastic. And the '31 Ruddigore is amazing - how have I
gone so long without hearing this?! And
such good transfers, too! I can't wait to hear the Yeomen this evening - in
fact I might be late for work and listen to it before I go... Many thanks for
making all this possible.
James Camner (A
well-known
Everything came, I'll give you my reactions in a day or so, but based on what I'm hearing of "Stateside Savoyards" I would say your first rate reputation is certainly justified. The sound literally jumped out at me! Bravo!
(later) Michael Walter's notes and your illustrations make all of these very special! I love them.
(and the next) … your issue of the 1928 Yeomen is the best - by
far. I'm going to have to get some
mention of this and the rest of your work into Fanfare soon. Needless to say, Michael Walter's notes,
your illustrations, combine to make this a dream come true for this old
Savoyard.
(the latest) Have sampled
most of the sets. Your product is impressive - the notes unexcelled. Do put me
down for all future releases you do.
Brendan Timins
Just wondering when you might
be releasing the remaining Martyn Green/D'Oyly Carte recordings on CD? Your transfers of the recordings I've
purchased thus far having truly been amazing, especially Ruddigore (my personal
favorite!). Many thanks in advance.
Rosemary
Stevenson
Thank you very much for posting the Emerald Isle - what a super
recording! I have been playing it all afternoon.
Jeff Lax
I should have written long before to tell you how much I enjoyed the previous order from you. The electric [1929/30 HMV] Iolanthe was wonderful... and the 1928 Yeomen was pure bliss. I don't know what other releases of that particular recording are like [… refer to James Camner’s comment about the 28 Yeomen – CW] but your remastering of the Yeomen is the best I've heard from that era. The clarity and beauty were overwhelming.
{This last batch of comments are amongst the first comments I ever
received, together with some more recently received comments from new customers
and relate mainly to my transfers of the acoustic Patience and Pinafore
recordings. After these, and with each
new release, many similar comments came through but because of time I didn't
start to collate any more until I reissued the 1949 Decca recordings}
Jim Lockwood (on ‘HMS
Pinafore’)
It never ceases to amaze me how much music can be pulled out of these
old acoustic records. Chris has managed to produce what I believe is the finest
restoration of an early D'Oyly Carte recording yet to be done. He has achieved
a perfect equalization, giving all the voices a natural, open sound, while
achieving an extremely low noise floor. Even with his obviously excellent
material, this is no easy feat. I highly
recommend this CD.
Stan DeOrsey
I saved your CDs (‘Pinafore’ and ‘Mikado’ soundtrack) for Christmas,
but I have now played them and find them both most enjoyable. Again, thank you
for your excellent restoration work. They certainly have an old style tone to
them but they give me the feeling of being closer to the productions from the
20's and I appreciate the enjoyment your work brings to me and I am sure
others. I continue to hope for many more.
Sara Kane
Thanks again for your devotion to this wonderful project.
Drew Buddie
Got the CD today - it's superb and the effort you have made has proven
most worthwhile. I wish you luck in producing more.
David Duffey
(On ordering ‘Pinafore’ etc. after ‘Patience’) If what you have on offer is only half as
good as the Patience, it would be still worth twice the price.
(After receiving ‘Pinafore’) What a Pinafore! The quality you have
achieved is superb.
John Apicella
Congratulations on a wonderful gift to G&S lovers everywhere. To finally hear this historic recording on CD
in such a lovingly mastered version is a magnificent treat. I wish you great
success on this release and on your plans for future disks.
John Gough
I was very pleased with the ‘Patience’ CD … you have certainly found a
dimension to the recordings under all the hiss and crackle
Stephen Turnbull (from his
review of ‘Patience’ published in the Sir Arthur Sullivan Society’s Newsletter)
…the transfers here are extremely well done. The set also benefits from a very informative sleevenote by our member Michael Walters dealing with the making of the recording and the idiosyncrasies of casting … this disc is well worth buying
I immensely enjoyed ‘Patience’ … and echo all the customer comments
about this outstanding CD
Larry Byler
Thanks so much for the hard work and for making this material
available.
Chris Wain
Just to say that the CD has reached me and I enjoyed listening to
it! Thanks. Looking forward to the next one!
Martin Lipow
I
received the "Merrie
Alan Borthwick
Congratulations on the superb quality of
these releases. I really revelled in the two 'Merrie
Peter Parker (from his
review of ‘Patience’ published in ‘The G&S News’)
The quality is quite remarkable … [it] has to be heard to be
believed. This is almost the first time
that one has heard the instrumentalists clearly other than the brass. The voices come over remarkably well
Adrian Bridgman
Many thanks for the ‘Pinafore’ CD which arrived yesterday. I have played it twice and it's lovely to
hear the recording properly. Your CD restoration is excellent and Matt Bland's
artwork is stunning.
The ‘Patience’ recording arrived last night. I am nothing less than
delighted with it. Congratulations on a superb job and I now await your future
projects with rabid enthusiasm.
(later) I just wanted to send a quick note to let you know how much I enjoyed
my first listening to the ‘Merrie
Chris Thomas
I enjoyed ‘Patience’ so much that I would like to order ‘Pinafore’
please – and that by return of post – that’s how much I need to hear Pinafore.
Tully Potter (Editor, International Classical Record
Collector, (Autumn 1999, p6))
Vocal gems … Well produced CDRs of acoustic HMV
Gilbert and Sullivan recordings, in excellent sound …
R E Gower
My husband was delighted to receive ‘Patience’ for Xmas and thought it
excellent
Andrew Merton
The acoustic recording of ‘Patience’ was a real pleasure to listen
to. I am sure that [Pinafore] will give
me equal enjoyment. Many thanks for your
labour of love
Ian Hay
The Patience restoration is splendid and much enjoyed
Diana Burleigh
Congratulations on the result of your efforts. I am also fascinated by the degree of
research and scholarship which has gone into producing this and by Michael's
notes.
Professor Roger Morgan
Congratulations on the superb ‘Patience’ CD.
Marc Shepherd (From his ‘Patience’ review for Savoynet)
If you heard the original discs, you might conclude that the surface
noise makes the recording nearly unlistenable … but modern technology can
remove much of the background noise on these recordings. For Chris, this has
entailed a large investment of time and money, but most people I queried agree
that it is well worth it. These are the quietest transfers of a recording from
this period that I have ever heard.
(comments on second order) I'm making my way through the latest batch of
CDs. ‘MIKADO’ [the 1938 film soundtrack] was excellent; I am near the end of
‘PINAFORE’, which is a superb restoration--very clean.
John Wise (This is a recently received comment about the 1920 Yeomen)
I've just about got to the
end of the acoustic "Yeomen" and … the pleasure in listening to what's on it is
tremendous. As I've said before, there
is an amazing realism about the performances - it's not just something coming
down from the past, they are actually living.