Gilbert & Sullivan: The Mikado

I had a high-school teacher who suggested that the reason W.S. Gilbert never received a knighthood (unlike his collaborator) was that the establishment was less than thrilled with his satirical views on British society. Nowhere is this satire more in evidence than in the Mikado, their "comeback" and arguably greatest work. Obviously, even Gilbert, who had satirized the armed services as well as other segments of society, couldn't lampoon the British crown directly, but one assumes that various well-placed worthies at Buckingham Palace understood the principles of transferance which are at work here. A singing Japanes emperor who issues silly decrees banning flirting, coupled with an itinerant minstrel who escapes royal justice through a fluke? Not so far removed, surely, from many impulses at work in the British Isles at the time.

Regardless, the score is arguably the most brilliant and tuneful ever composed by Sullivan, and the Welsh National Opera and orchestra do it and Gilbert's lyrics proud. A happy, rollicking performance from start to finish.

While I agree with most of the other reviewers on the quality of musicianship on display here, the spirit of the piece seems to be missing. I cannot truly enjoy a Mikado where the central comedian, Ko-Ko, does not elicit a single chuckle. With the exception of the title character's traditional hyperventilation, there is none of the shading or embellishment that can bring these parts to life. I recently saw a production of The Mikado, so I know it can still generate some excitement. This seems more like a museum piece.

The performance is spirited, the diction is good, the orchestra is on form, it's a very enjoyable recording. Other reviewers have complained about the missing overture and dialogue. We are not alone in thinking the overture "will not be missed" - it's pretty ordinary. Music for the audience to settle down by.

And since we wanted, and got, a recording of the Mikado music, we also don't miss the dialogue, a fair bit of which is really only there to set the scene for a song anyway. If we wanted a recording including all the dialogue we would have looked for one.

In summary: "the Japanese equivalent of 'hear, hear, hear!'".

--Gilbert & Sullivan--
William Gilbert and Arthur Sullivan were a match made in heaven, yet on earth their pairing seems even with hindsight a most unlikely coupling. Both were destined for other things, Gilbert in fact for decidedly non-musical careers. Introduced by a mutual friend, Fred Clay, the fledgling lyricist Gilbert met the military-band-leader's son Sullivan and together continued to conspire to inspire the delights of audiences from high Victorian times down to the present, as their work in musical theatre comedy continues to provide merriment throughout the English-speaking world and beyond.

--The Music--
This collection includes most of the 'opera' of The Mikado. The recordings on this collection come from complete performances by Mackerras and the WNO. The Mikado is one of Gilbert & Sullivan's most enduring and endearing pieces. It has warmth and humour as well as the typical Gilbert & Sullivan wit and satire, and is also one of the G&S productions that translates well in to other languages. The performances here are superb, and the only drawback is the few deletions required to get the performance to fit on one CD.

--Sir Charles Mackerras--
Mackerras is one of the geniuses of the twentieth century musical scene. Having a conducting career that includes the Hamburg Opera, the English National Opera (formerly Sadlers Wells Opera), and the Welsh National Opera (the performers for this piece), he has also conducted major orchestras on the continent of Europe and in the United States. The holder of many major awards and honourary doctorates, he has devoted much time and energy to the preservation and performance of eighteenth and nineteenth century music, as well the restoration of historical musical venues, such as the Estates Theatre in Prague, scene of the original production of Don Giovanni (Mackerras conducted the opera there to commemorate the bicentenary of the death of Mozart).

--Welsh National Opera Orchestra and Chorus--
The seeds of the WNO were planted in Cardiff during World War II by music lovers; the first performances occurred a year after the war's end, with Cavalleria rusticana and Pagliacci on the bill, with Faust the next night. Popular appeal was so great that the WNO was established, later adding choruses in both Cardiff and Swansea. The professional chorus was established in 1973, with a strength that matches the orchestra. They continue an ambitious performance schedule for recording and live events; Mackerras remains the Conductor Emeritus, as the WNO continues under the direction of Carlo Rizzi. The list of awards the WNO has won over the years is staggering - they are a world class institution by any measure.

--Other performers--
Notable singers such as Richard Stuart, Anthony Rolfe Johnson, Nicholas Folwell, Marie McLaughlin, Anne Howells and Janice Watson fill out the players on this disc. Several are frequent performers with Mackerras and the WNO (for example, Stuart plays Porter on their production of the 'HMS Pinafore').

--Liner Notes--
The liner notes give a good introduction and biographical information about Gilbert and Sullivan, as well a synposis of the opera, and a bit of historical background. It does not, unfortunately, include any information about Mackerras, the WNO Orchestra and Chorus, or the other special performers.

--Overall Impressions--
I play this CD in my car, in my home and in my office frequently. It is a great sing-along work and a great comedic relief from the stresses of the day. The music is bubbly and clear; the recording quality is excellent and crisp. I recommend this to any Gilbert & Sullivan lover, any fan of musical comedy, opera and operettas, and anyone who delights in good music.

This is by far the best recording of The Mikado made since 1928. Yes, it has been shortened a bit by omitting the Overture and removing one verse of the "List" song. But the Overture wasn't even written by Sullivan, so you're not missing that much.

The reason this performance is so wonderful is that it harkens back to the original tempi and spirit of the old D'Oyly Carte Company. If you listen (as I have) to all of the famous recordings of The Mikado, you will notice that, over time, The Mikado has become stodgy. What started as a light, fun, musical entertainment has been transformed into "classical music." This is a shame, because the piece is so much fun.

Sir Charles Mackerras has not only re-invigorated The Mikado, he has dug deeply into the score and found many examples of Sir Arthur Sullivan's wit and skill that are missed by most conductors. His rendition of the madrigal is particularly charming.

Speaking as a man who is about to conduct this wonderful work himself, I whole-heartedly recommend you buy it and give it a careful listen.