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The ad break as the climax of "All Hail Great Judge!" was hilarious

I went to school a convent with Valerieshe was 2 yrs older than me.I used to be awe of her.Our music teacher worked a lot with Valerie

Something something something with the eggs on top

Excuse me, but would it be okay if you sent me a file of the complete George Walker film version of Princess Ida? I discovered it was uploaded on that website link you presented me, but I remember I had trouble opening the file/video when clicking on it as it presented I needed an account which I later struggled creating.

Better when the listed 'victims' are up-to-date and relevant to the news....

merveilleux ! 🤩

This was brilliantly done - such a hoot! The usher had such a deep, rich bass baritone - as did the judge, and the barrister. So mellow and majestic! The melodic, jaunty tenor of the caddish defendant was a joy to listen to. How I love to see the pomposity of the law lampooned like this! Really rather radical for 1875 - mid-Victorian, buttoned-up Britain.

All praise to Gilbert and Sullivan for this masterpiece. But who put together that abortion of an overture? It's only redeeming feature are Sullivan's melodies but whoever did it needs to go back to Composition 1.01 and revise how to orchestrate.

If you have the recording of Anthony Warlow in HMS Pinafore Id be ecstatic to see it

A fantastic production almost ruined by some ridiculously fast tempi from a conductor who obviously doesn't understand the idiom.

That's a fabulous production. From a professional point of view the set, costumes and lighting were amazing. Thank you. That was great. 💞

The ENO does it again!!

The singing in this version is superb ,well worth a view !

25:03 enter Tim Wonnacott in shorts. The man himself would make an ideal Ko Ko, and probably is already word perfect🤣😂🤣😂🤣😂 Anyone for Bargain Hunt tee hee hee. Quite an imperfect production, but then I was amused to see, the name Jonathan Miller. My late Aunt was a friend of Alan Bennett the playwright back in the 1960s, and went 'Back stage' at the Fortune theatre where she met all the ~Beyond the Fringe~ team. Dudley Moore was funny, Peter Cook was a little snobbish. She couldn't remember Jonathan Miller, bland🤣😂🤣😂🤣😂

Also, I have to admit the Japanese costumes would have made it more authentic. I was also disappointed in The man who played Ko-Ko. Sorry!!

OMG!! I fell in love with the young man who played Nanki-Poo!! As soon as I heard him sing. I was so curious to see this revival. I didn’t think I would like it, but the talent is undeniable. Bravo to this wonderful cast!!! And orchestra!!!!

what year is this recording from? Ohio Light Opera is performing this work again this week

2:14:41

Derek Hammond-Stroud came and sang at my secondary school many years ago, and I have never forgotten it. I am now 73 and I still love G&S

This is one of the best of the Brent Walker survey of the Savoy operas. It is essentially the English National Opera 1969 production (also used by Opera Australia in 1995), slightly modified for the camera.

39:45

Is one of the police a female? Just wondering

I’d also like to add my admiration for the Jack Point. His voice suits his character. A more operatic voice would get in the way.

I’m watching this again, because theatrically there’s so much more to like & admire than not, but I have to wonder: was the overture ruined in the theatre too, or was the video & VO for the tv audience? If it were done in a live performance, it displays a disrespect for the material, in an otherwise fascinating production.

I’ve watched this a hundred times and keep missing how Poo Bah ends up with Petti Sing

1:31:00

Hidden gem on utube. I've not done Orphee En Feers in English for about 25 years.

Is this from the 1982 Brent Walker production? Do you have the full video?

This was hilarious to this English-speaking savoyard. A Sir Joseph who is way younger than Ralph, and freakazoid upper-class twit of the year to boot! An extremely light-on-his-feet Captain. A Ralph who, for once, looks like he could almost be the same age as the Captain (which he should be!), PLUS he's a bit non-traditional in terms of physical appearance. Vocally, the "British Tar is a Soaring Soul" was a delicious treat. And the whole 1970s Euro-opera-in-a-TV-studio thing never gets old for me.

A marvelous rendition of the song !

Very enjoyable! Was it the same cast as on the Danish L. P. with "Trial by Jury"? I liked the Sir Joseph. Is his accent a superior voice? That's what I do! I noticed some words coincide with the original. Some of my faithful translations of Offenbach have been performed. "Station" and in Danish we heard "klasse" (spelling?). I know "Jeg elsker dig" from the lovely Grieg song with lyrics by Hans Christian Andersen. A classic doesn't need to be changed as it is always relevant. Perhaps there is still a class system in Denmark as well! D. C. did indeed move with the times. Sometimes they went too far e. g. "the Gondoliers" changed from eighteenth century to nineteenth century. They couldn't dance the gavotte which I learnt at the Guildford School of Acting. The Don was done as a Cardinal but still exaggerated his mere politeness to ladies. One hopes he was celibate! The tradition was perhaps being watered down but a replica production could have been done. It's been successful in ballet. They could have done a traditional "Sorcerer" from the prompt-book and with copies of the original designs. The people knew what they were doing. Instead they had an untraditional production which was one of the best I have ever seen. The so-called Arts Council closed them down but they were adaptable so they would have toured less operettas but with some by other composers and librettists. "Véronique" with music by André Messager was being planned. I'm tired of complaining about vulgar, rudderless O. T. T. productions. They think they're being clever. Remember Gilbert's "pork-pie" rebuke. Put in "references" are often out of-date already. The general satire is universal. A Noel Coward play recently was supposed to be set in 1991 but there were references to Liz Truss and to the Queen's Hall (kept from the original play) & it was bombed after the nineteen-thirties!

Thank you so much for this excellent transfer. Have you done any other titles of the excerpts series (& "Trial" complete)? If only we;d had complete films of the D'Oyly Carte. The acting, singing, sets and acting are first rate. I don't know if the transition between items is too abrupt. There were two narrations: Douglas Firbanks Junior, and Thomas Round.

Breakneck??? These tempos are perfection, allowing full realization of the wonderful, transparent Sullivan orchestration. The peppy, “Here’s a first - rate opportunity,” was particularly invigorating (with or without vocals - all easily imagined during this gem of an overture).

Do you know where someone could find a complete version of this performance?

Man, such well spoken pirates!! I always imagine pirates with a "low class" British dialect like cockney or something 😆

🙂🙂

When I was at William & Mary, the school's light opera company, Sinfonicron, did a production of Patience that replaced the Aestheticism with Existentialism. Seeing beatniks sing G&S is one of the funniest things I've ever seen. Unfortunately, this was before they started recording their shows.

Wow. ..excellent...I don't speak a word of Danish ... But the attention to details. ,business...exemplary....sir Joseph....the first time I have seen him played as I always wanted.. everyone else....absolutly bloody brilliant....No wonder the D'oyly Carte went under....are so sad to reflect.....but they didn't move with the times...Well done to everyone.. ..brilliant...and much enjoyed...

Wonderful! Is Pinafore available in this series?

Oh my goodness! I've loved Trial by Jury since I was a child. (now 70). This is the most stupendous production I've ever seen!! Bravo!

Wonderful! Long a favourite, this first-rate performance is matched by beautul costumes and sets....more, please!

definitive!

Best I have seen so far! Bravo!

This is by far the best Maybel I have ever seen! And their interpretation of Men of Dark and Dismal Fate is my favorite one yet! Incredible!

The only Savoy Opera with a tragic ending.

A production so paranoid about "cultural appropriation" that it goes for full cultural erasure by stripping every Japanese image from a play about Japan. Well done.

I heard my first G & S at 14 on old pre-electric 78's which my school-mate's father gave him when he "updated". to electric recordings. So what I heard was recorded before 1928 by some of the D'Oyley-Carte cast who had been actually been directed. There are of course variations in this performance, but it is pedantic to insist on a pure Victorian production. I enjoyed it immensely. Some of the previous Opera Australia productions were too gimmicky - Was it the Lord High Executioner who popped up out of a barrell? And if so, why? Remember Gilbert's notice to cast "There will be a further rehearsal on Sunday to delete the improvements." The part is never greater than the whole

I really think this is one of the funnier KoKos I've seen.

I don't like this version because instead of singing to their audience they are singing to the camera. Look again and you will see what I mean. Not good acting. There are much better versions which I love. One is from 1957 with 2 great singers who can also act.

Expensive production but it needed some tinkering. Comic opera it may be but a bit less comic and more opera would help. And the miming could have been better. Could the subtitle writer be given a copy of the libretto in advance?