Charming, lighthearted and fizzing with subversive wit, Neil Armfield's sparkling production of the Marriage of Figaro masterfully captures Mozart's most popular comedic opera. In this classic performance, recorded live at the Sydney Opera House, Patrick Summers conducts an energetic fresh-voiced cast. Available in CD, DVD and Blu Ray.

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'A marriage of distinction. An energetic, fresh-voiced cast...Teddy Tahu Rhodes and Taryn Feibig were a vivacious, appealing pairing...vocally strong and agile' (The Australian)

'As the Countess, Rachelle Durkin mixed statuesque hauteur with girlish puppy love...refined phrasing and beautifully poised tonal control' (The Sydney Morning Herald)

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'A marriage of distinction. An energetic, fresh-voiced cast...Teddy Tahu Rhodes and Taryn Feibig were a vivacious, appealing pairing...vocally strong and agile' (The Australian)

'As the Countess, Rachelle Durkin mixed statuesque hauteur with girlish puppy love...refined phrasing and beautifully poised tonal control' (The Sydney Morning Herald)

An exciting souvenir of an historic occasion.

The late nineteenth century opera-goer would expect as a matter of course that Les Huguenots would be included in any self-respecting operatic season. Although Bernard Shaw (as Corno di Bassetto) pokes fun at it, it is affectionate fun. Listening to these discs, whatever their shortcomings, one can understand why it held the stage for so long. It would be foolish to make comparisons with other large-scale operas concerned with the interface of public and private concerns by, say, Verdi or Berlioz, but it is effective and thoughtfully constructed and has moments of real grandeur and pathos. Alas, live performances now are far too rare which makes the availability of recordings all the more important as a way towards appreciating the work.

The only score I possess is that of the Italian version edited by Sullivan and Pittman, and I am unclear to what extent that represents the composer’s intentions. A pencil note in my copy indicates with some asperity that the performance was finished at the end of Act 4 by “Harris Italian Opera” (Covent Garden) on 27 October 1882, showing that a need to cut it has been felt for a very long time. As far as I am aware the opera has only once been recorded anywhere near complete, but that version, issued by Decca in 1970, does not appear to be available at present. Certainly it had some serious defects, notably the casting of Raoul, but it also had the immense virtue of avoiding harmful cuts and of the choice of Joan Sutherland as Queen Marguerite. The present version also has the latter virtue – her stunning vocal presence still undimmed twenty years later – but makes very extensive cuts in just about every number, somewhat surprisingly as both versions are conducted by Richard Bonynge. The result is that the new version is certainly shorter but less effective in building up tension or realising the scale of the work as a whole. There is nonetheless, for the most part, a real sense of the excitement of a live performance; something lacking for much of the earlier and more complete set. Indeed it is the understandable presence of such excitement that is the main reason for issuing this set as it comprises Dame Joan’s final stage performance. The audience is clearly aware of the historical importance of the occasion and applauds her whenever it gets a chance.

It would be understandable if the rest of the cast felt that they were merely supporting a star’s farewell appearance, but that would not be sufficient for an opera which notoriously requires seven star singers. It does not really get them here although all concerned sound thoroughly involved despite the various moments with the kind of errors that occur normally in live performances. Anson Austin as Raoul and Amanda Thane as Valentine give gallant and exciting if occasionally inaccurate performances of what must be exceptionally difficult roles. The other leading roles are adequately sung if without the kind of especial distinction that they really require. The chorus and orchestra, and especially the latter, make the most of their opportunities, with some very lovely solo playing in the many opportunities given by Meyerbeer’s wonderfully imaginative scoring, one of his main virtues as a composer.

The presentation of the set is frankly poor, with little more than a couple of pictures of the occasion and a very brief synopsis. If text and translation are not to be included much more than this is needed to help the listener unfamiliar with the work. I understand that a DVD is also available. I have not seen it but would imagine that it would provide a better souvenir of the occasion and also give a better idea of the opera and what is happening in it, especially if subtitles are available. The present set remains nonetheless a record of an important occasion, when the retirement of one of Australia’s greatest artistes was saluted by her fellow countrymen with a performance by her national opera company in a world famous building. Understandably after lengthy applause the set ends with speeches of congratulation and Dame Joan’s singing of “Home, sweet home”. There was not a dry eye in the house, I am sure, and even many years after the event in my own (sweet) home listening to this was a memorably moving experience. This is not the recording of Les Huguenots of which I dream but it is an exciting souvenir of an historic occasion.

-- John Sheppard, MusicWeb International

SULLIVAN The Mikado • Brian Castles-Onion, cond; Richard Alexander ( Mikado ); Kaneen Breen ( Nanki-Poo ); Mitchell Butel ( Ko-Ko ); Warwick Fyfe ( Pooh-Bah ); Taryn Fiebig ( Yum-Yum ); Jacqueline Dark ( Katisha ); Op Australia Ch; Victoria O • OPERA AUSTRALIA Z56016CD (2 CDs: 88:00)


Every time I listen to Gilbert and Sullivan I find myself “whistling all the airs to that infernal nonsense,” in this case, Mikado . Well, not whistling actually; I don’t whistle well, but those airs do run around in my head for days and days. The Mikado is one of G&S’s cleverest and most tuneful works for the stage and that makes it one of the best operettas in the English language. Like Offenbach’s French satires, Gilbert’s librettos don’t translate quite as brilliantly to other languages, for the reason that he not only pokes fun at British customs and institutions, he satirizes the English language itself. Sullivan’s infernally catchy tunes, however, translate just fine. You can hum them in French or German or Swahili, and many do. Long the patent-holder of all Gilbert and Sullivan material, the D’Oyly Carte Opera Company did posterity no favors by declining to video-record its classic productions, in the fear that the videos would help put them out of business. Well, D’Oyly Carte went out of business anyway, after some hundred years of nurturing and protecting the G&S legacy, but for those of us who never attended a live performance, opportunities to see traditional, well-sung airings of the G&S canon with just the right British comedic insouciance are few and far between.


Happily, we have one such here. Opera Australia imported this 1985 production from Sadler’s Wells and video-recorded it once before, in 1987 (see Barry Brenesal’s review in Fanfare 35:4). Now the Aussies have dusted it off and trotted it out again with a new cast and generally excellent results. G&S depends on comedic timing and delivery (as well as many other things) to make an effect, and here two of the principals, the Ko-Ko of Mitchell Butel and the Nanki-Poo of Kanen Breen, are both very good and very funny (they both sing pretty well, too). Breen reminds me a bit of Bill Murray’s wisecracking, streetwise army buddy in Stripes , a little more hip than your usual Nanki-Poo, but very entertaining. The third male principal, Warwick Fyfe as Pooh-Bah, is not to the comedic manor born, but he turns in a solid performance, and Gilbert’s clever witticisms do most of the work for him. The three little maids in this production have none of them been schoolgirls for quite some time, but the Yum-Yum of Taryn Fiebig is sung solidly and she more than holds up her end in the comedic dialog. There are several other roles of relative importance in The Mikado and they are all performed very competently here. The Katisha, Jacqueline Dark, actually stars in the extra feature on the disc. We watch while she sits and prattles on while being made up as the rather fearsome daughter-in-law-elect. The sets and costumes just about steal the show; they are traditional, lavish, and colorful. Jugs and ewers of all types and sizes dominate the décor. Pooh-Bah seems to reside, or at least travel in, a large colorful wardrobe. It is all a bit silly, but great fun. Ko-Ko’s “list” song has been modernized to somewhat dubious effect, and one or two other Aussie verbal modifications sneak in without really hurting the show.


Actually, I misled you in the opening paragraph, for The Mikado is the one G&S work for which the D’Oyly Carte Company did make a video, for some unknown reason. Still available on VAI, it displays all of the company’s great artistry and impeccable timing honed over years and years of public performances. Not only do they all know how to deliver a comedic line, they know to anticipate audience reaction and pause perfectly for it. Unfortunately, the production is filmed without an audience present, and the D’Oyly Carte forces seem a little thrown off by it. The 1966 video stars as Ko-Ko a young John Reed, the best G&S comedic performer of his time and possibly of all time. He is a treat to watch and he definitely will be missed. The company was known in The Mikado for its snapping fan work; they actually brought in Japanese women before the premiere to show the company how to use the fans, and show the women how to walk properly. All of that is still on display in 1966. The VAI production is a classic that belongs in any G&S fan’s library. Avoid the 1982 Brent Walker production (and just about all of them for the other works as well). There is a fascinating 1939 film still available on DVD that uses several D’Oyly Carte performers of the era, including Martyn Greene, John Reed’s predecessor and highly regarded himself. This Opera Australia release is a worthy successor to the D’Oyly Carte tradition; it is funny, highly entertaining, and captures the work in much better quality video and sound than previously, especially enjoyable on Blu-ray high definition.


FANFARE: Bill White

Lucrezia Borgia, infamous noblewoman of the Renaissance, has outlived three husbands and is now married to Don Alfonso, Duke of Ferrara. After the Borgia’s palace is defaced by vandals, Lucrezia demands the desecrator’s death to avenge the insult. When the noble young soldier Gennaro is arrested for the crime, Lucrezia’s thirst for vengeance and murder sets in motion a tragic chain of events that eventually destroys her enemies and herself.

Donizetti's Lucia di Lammermoor, based on a Sir Walter Scott novel, follows a tragic romantic story which is very similar to "Romeo and Juliet." Renowned soprano Dame Joan Sutherland skyrocketed to worldwide attention upon her performance in the lead role in 1959. Here, she returns to the role that she was made to play in this beautiful 1986 production, directed by John Copley. Wonderful support is given by brilliant tenor Richard Greager.

DELIBES Lakmé • Richard Bonynge, cond; Joan Sutherland ( Lakmé ); Isobel Buchanan ( Ellen ); Jennifer Berminghan ( Rose ); Huguette Tourangeau ( Mallika ); Rosina Raisbeck ( Miss Bentson ); Henri Wilden ( Gérald ); Graeme Ewer ( Hadji ); John Pringle ( Frédérick ); Clifford Grant ( Nilakantha ); Australian Op Ch; Elizabethan Sydney O • OPERA AUSTRALIA OPOZ56012 (2 CDs: 149:05) Live: Sydney 8/18/1976


In 1976, Australian Opera (now known as Opera Australia), with the help of the Australian Broadcasting Company, began filming operas and concerts for broadcast on television and radio. Many of these productions were eventually released for home video. It was believed that three productions featuring Joan Sutherland, Lakmé, Lucrezia Borgia , and Norma , were lost. They were eventually found after a six-year search but, according to the accompanying CD booklet, were in terrible shape because of poor storage. The booklet recounts the difficult process of preserving and restoring these tapes.


Had Opera Australia not recounted the history of this recording, I would not have known that there ever was a problem of any kind. The sound is excellent for a live recording, though somewhat boxy, lacking in atmosphere. The notes refer to “blank gaps resulting from countless audio drop-outs” for which matching material had to be found and spliced in. The restoration, as far as I am concerned, is completely successful.


The question then arises, was all that effort worthwhile? If we lacked a recorded memorial of Sutherland’s Lakmé, or if we had only an inferior recording of Sutherland in the role, then this recording would be an invaluable addition to the catalog.


Opera Australia’s production is generally a very good one. It has two outstanding portrayals. Sutherland is very good as Lakmé, coping easily with the difficult Bell Song in act II, as one would expect. It must be admitted, however, that she neither sounds nor looks (as the booklet picture shows) like a girl of the age she is portraying. Clifford Grant is excellent as Nilakantha, his dark, steady voice making a perfect fit for the role. Henri Wilden is an ardent and believable Gérald, although his voice lacks the elegance and ease of his recorded competition. John Pringle is a sympathetic, steady Frédérick, and the minor roles are taken adequately (Rosina Raisbeck) or better (everyone else).


Sutherland recorded Lakmé for Decca in 1967. She was in steadier voice at the time of the Decca recording than she was nine years later for Opera Australia, though the difference is not substantial and much of it could be the difference between studio and live recordings. In almost every other role, I prefer the Decca cast to the Opera Australia one. Alain Vanzo sings with great beauty of tone and fervor in a totally successful portrayal of Gérald. I prefer Jane Berbié (Decca) as Mallika, where she sounds more youthful and fresher of voice than Opera Australia’s Huguette Tourangeau, familiar from many Sutherland recordings. Honors are evenly split between Gabriel Bacquier (Decca) and Clifford Grant as Nilakantha and between Claud Calès (Decca) and John Pringle as Frédérick. Monica Sinclair is a definite improvement over Rosina Raisbeck as Miss Bentson.


There is little evidence that Richard Bonynge’s conception of the opera had changed over the nine years between recordings, although he does seem a bit surer in his handling of the orchestra in the Opera Australia performance. Orchestra and chorus perform very well. The sonic balance of the present recording places the orchestra front and center though in no way overpowering the singers, while the Decca recording has a more-balanced perspective.


In both recordings, Bonynge uses an edition of the score in which some dialogue is set as recitative. Joel Kasow discussed a similar edition used by Michel Plasson in his recording ( Fanfare 22:4). The live recording contains some cuts; perhaps these are the result of damage to the original tape that could not be restored. The audience is generally quiet except for applause at all the expected places.


In a bit of sloppy editing, the CD booklet omits the track list and timings for act III. There is no libretto, just track list and timings for the first two acts, along with a synopsis of the action and an article on the restoration process in English, French, and German.


This is unlikely to be anyone’s first choice for a recording of Lakmé . However, for those who enjoy live-performance recordings, this set can be a valuable supplement to one of the studio recordings.


FANFARE: Ron Salemi