Naxos
Macfarren: Robin Hood / Corp, Victorian Opera Chorus And Orchestra
$29.99
Only 3 left
Details
- Composer
- MACFARREN, GEORGE ALEXANDER
- Artist
- Spence, Hulbert, Hurst, Mackenzie-Wicks, Molloy, Knox, Jordan, Ashman, John Powell Singers, Victoria
- Format
- CD
- Label
- Naxos
- Released
- Oct 25, 2011
- Catalog #
- 8660306-07
- UPC
- 730099030670
About
A great work; possibly the composer’s masterpiece.
I have to hold my hand up. In spite of thinking myself as being one of the world’s biggest enthusiasts of British music, I had my doubts about this opera when I heard that it was due to be released. I could not possibly imagine the claim that somehow this two and three quarter hour, three-act marathon by Sir George Alexander Macfarren could be anything other than a mediocre, third rate production from one of the ‘leading lights’ from the notorious ‘Land without Music’. Especially extravagant were claims that Robin Hood is ‘a work of musical genius superior to any works of Verdi or Donizetti, [and] doubtless the chef d’oeuvre of the English school’. Hardly likely, I thought. Perhaps, just perhaps, I was able to concede that this opera may have been ‘very full of good fun and on the way to Sullivan’. How utterly wrong-headed can I have been?
The critic of English opera can work in at least two directions. He can begin with John Blow’s masque Venus and Adonis followed by Purcell’s Dido and Aeneas, The Fairy Queen and King Arthur and work down the years by considering the works of Thomas Arne, such as Thomas and Sally. He can then explore the influence of Handel whose operas were unbelievably popular in the middle of the eighteenth century although, it must be recalled that he was a German who had visited Italy! My edition of the Harvard Dictionary of Music quite boldly states that ‘the writing of serious operas by English composers of the first rank practically ceased until the 20 th century.’ This prejudice tends to ignore works such as Michael Balfe’s The Bohemian Girl, W.V. Wallace’s Maritana and Julius Benedict’s The Lily of Killarney. These once extremely popular works were regarded as operas and not as operetta, in spite of their being ‘not too heavy’ in their theme and content. At the end of this period comes Sullivan – both with and without William Schwenck Gilbert.
Other critics will work backwards. Perhaps starting with Harrison Birtwistle’s Punch and Judy they regress through the great operas by Benjamin Britten and Ralph Vaughan Williams. There are sometimes a few digressions to Tippett, Berkeley and Maconchy. However at the end of the day, they too end up with Sullivan before promptly dismissing him. They then investigate the purer waters of Purcell.
Somewhere in the middle of all this historical exploration is Sir George Alexander Macfarren who wrote a number of operas including Allan of Aberfeldy, King Charles II, She Stoops to Conquer, Helvellyn and Robin Hood. David Chandler has defined the opera’s status as follows: -
‘ Robin Hood certainly anticipates Ivanhoe and some later attempts at a truly English style of opera, but it also marks the end of an era. It belongs to the last and greatest period of the Victorian English romantic opera, along with Loder’s Raymond and Agnes (1855), Wallace’s exactly contemporaneous Lurline (1860), the same composer’s The Amber Witch (1861), and Benedict’s The Lily of Killarney (1862). It is totally distinct from these contemporary works however, and an impressive monument to Macfarren’s enduring and largely successful efforts to fashion a truly English species of musical theatre, at once looking back and looking forwards.’
It is a bold endeavour indeed to embark on reviving an opera that many people will regard as being well past its sell by date. To consider making a recording is heroic. It is almost certain this will be the one and only version produced in our lifetimes. It has to be good: it has to sell the music and create something well beyond the experience of visiting a ‘museum’. There was considerable work involved in restoring the performing edition: the parts had gone missing and the full score was written in a ‘spidery hand’. This mammoth task was undertaken by Dr. Valerie Langfield. It is not just a case of copying out the bars into Sibelius and pressing the ‘print score and parts’ button. There was a heap of technical issues, such as the fact the Macfarren used a three-stringed double bass and horns with interchangeable crooks.
The CD liner-notes provide a synopsis of the opera and the full libretto is available on the Naxos website. However it will do no harm to give a thumbnail sketch of the story. The libretto was written by John Oxenford (1812–1877) who made use of a number of motifs from the corpus of Robin Hood stories as well as Sir Walter Scott’s Ivanhoe.
The first act sees Robin Hood disguised as Locksley, who is a suitor of Marian, the Sheriff of Nottingham’s daughter. The second act portrays the robbery of the Abbot or as presented here the ‘sompnour’ and this is followed by the archery contest which Robin/Locksley wins and receives the hand of Marian. However the sompnour recognizes Robin who is cast into prison. The third act has Marian fleeing to the forest to summon Robin Hood’s followers who naturally come to the rescue. All ends happily with the death warrant received from King John actually being a pardon. Robin and Marion are reunited and there is ‘general rejoicing.’ Naturally there are many sub-plots and events worked into the story such as the ‘feasting in the forest’ and the ‘town fair’ scenes.
The score is full of attractive and often beautiful music that will leave the doubter speechless. It may not be Verdi or Donizetti - was all Verdi great? - but there is a quality of musical endeavour here that must surely strike the listener as being well beyond the perceived ‘dry as dust’ or overly sentimental qualities that have attached themselves to this period of British music. For example listen to Robin’s beautiful aria ‘My own, my guiding star’ from Act Two (CD2 Track 3) or to Marian’s gorgeous offering of True Love in Act 1 (CD1 Track 6). This is operatic music at its best, not over the top, but moving and attractive. The patriotic ballad ‘Englishmen by birth are free’ (CD1 Track 9) must be one of the highlights of the opera: one can imagine it going down exceptionally well at the height of the Victorian era. It is certainly as good as any of Sullivan’s arias such as Lord Mountararat’s ‘When Britain really ruled the waves’. One of the hits at the time of the first performance was Robin and the Greenwood men’s ‘The Grasping Normans’ (CD1 Track 14). It is difficult to say that any part of the opera is weak or falls below the standards set by these ‘hits’.
The performers in this groundbreaking recording are the Victorian Opera Chorus and Orchestra. Their mission is to record lost or forgotten operatic works by British composers. They are joined by the John Powell Singers. The soloists are professional and the chorus and orchestra are drawn from a variety of local groups and societies. The quality of the singing from the principals and chorus is excellent. All the players are kept in order by Ronald Corp, who has drawn an outstanding performance from all concerned.
The liner-notes are first-rate, the sound quality superb and the cover picture of ‘The Edge of Sherwood Forest’ is totally appropriate. Altogether a great production.
Let us hope that one day this work will be seen in all its glory on the stage: it is just the sort of opera that would go down a treat at the Buxton Festival. Meanwhile, the story of Robin Hood is so well known that even the least imaginative of listeners can provide the mental backcloth, scenery and props to this well-loved story.
So I was wrong. Robin Hood has seriously impressed me. As preparation for this review I have listened to it two or three times as well as picking out the purple passages. The more I hear this music the more it appears competent, attractive, often beautiful, sometimes moving and always interesting. And I am not an opera buff! In fact, I am coming to love it as much as I love G&S.
This is a CD that all opera fans ought to have. Some people will ignore it simply because it was written by an Englishman during Queen Victoria’s reign. They would be utterly misguided to do so. This is a great work; possibly the composer’s masterpiece and is a light opera (not operetta) that can hold its best up against anything offered by the Italians and the French and the Germans from the same period.
-- John France, MusicWeb International
I have to hold my hand up. In spite of thinking myself as being one of the world’s biggest enthusiasts of British music, I had my doubts about this opera when I heard that it was due to be released. I could not possibly imagine the claim that somehow this two and three quarter hour, three-act marathon by Sir George Alexander Macfarren could be anything other than a mediocre, third rate production from one of the ‘leading lights’ from the notorious ‘Land without Music’. Especially extravagant were claims that Robin Hood is ‘a work of musical genius superior to any works of Verdi or Donizetti, [and] doubtless the chef d’oeuvre of the English school’. Hardly likely, I thought. Perhaps, just perhaps, I was able to concede that this opera may have been ‘very full of good fun and on the way to Sullivan’. How utterly wrong-headed can I have been?
The critic of English opera can work in at least two directions. He can begin with John Blow’s masque Venus and Adonis followed by Purcell’s Dido and Aeneas, The Fairy Queen and King Arthur and work down the years by considering the works of Thomas Arne, such as Thomas and Sally. He can then explore the influence of Handel whose operas were unbelievably popular in the middle of the eighteenth century although, it must be recalled that he was a German who had visited Italy! My edition of the Harvard Dictionary of Music quite boldly states that ‘the writing of serious operas by English composers of the first rank practically ceased until the 20 th century.’ This prejudice tends to ignore works such as Michael Balfe’s The Bohemian Girl, W.V. Wallace’s Maritana and Julius Benedict’s The Lily of Killarney. These once extremely popular works were regarded as operas and not as operetta, in spite of their being ‘not too heavy’ in their theme and content. At the end of this period comes Sullivan – both with and without William Schwenck Gilbert.
Other critics will work backwards. Perhaps starting with Harrison Birtwistle’s Punch and Judy they regress through the great operas by Benjamin Britten and Ralph Vaughan Williams. There are sometimes a few digressions to Tippett, Berkeley and Maconchy. However at the end of the day, they too end up with Sullivan before promptly dismissing him. They then investigate the purer waters of Purcell.
Somewhere in the middle of all this historical exploration is Sir George Alexander Macfarren who wrote a number of operas including Allan of Aberfeldy, King Charles II, She Stoops to Conquer, Helvellyn and Robin Hood. David Chandler has defined the opera’s status as follows: -
‘ Robin Hood certainly anticipates Ivanhoe and some later attempts at a truly English style of opera, but it also marks the end of an era. It belongs to the last and greatest period of the Victorian English romantic opera, along with Loder’s Raymond and Agnes (1855), Wallace’s exactly contemporaneous Lurline (1860), the same composer’s The Amber Witch (1861), and Benedict’s The Lily of Killarney (1862). It is totally distinct from these contemporary works however, and an impressive monument to Macfarren’s enduring and largely successful efforts to fashion a truly English species of musical theatre, at once looking back and looking forwards.’
It is a bold endeavour indeed to embark on reviving an opera that many people will regard as being well past its sell by date. To consider making a recording is heroic. It is almost certain this will be the one and only version produced in our lifetimes. It has to be good: it has to sell the music and create something well beyond the experience of visiting a ‘museum’. There was considerable work involved in restoring the performing edition: the parts had gone missing and the full score was written in a ‘spidery hand’. This mammoth task was undertaken by Dr. Valerie Langfield. It is not just a case of copying out the bars into Sibelius and pressing the ‘print score and parts’ button. There was a heap of technical issues, such as the fact the Macfarren used a three-stringed double bass and horns with interchangeable crooks.
The CD liner-notes provide a synopsis of the opera and the full libretto is available on the Naxos website. However it will do no harm to give a thumbnail sketch of the story. The libretto was written by John Oxenford (1812–1877) who made use of a number of motifs from the corpus of Robin Hood stories as well as Sir Walter Scott’s Ivanhoe.
The first act sees Robin Hood disguised as Locksley, who is a suitor of Marian, the Sheriff of Nottingham’s daughter. The second act portrays the robbery of the Abbot or as presented here the ‘sompnour’ and this is followed by the archery contest which Robin/Locksley wins and receives the hand of Marian. However the sompnour recognizes Robin who is cast into prison. The third act has Marian fleeing to the forest to summon Robin Hood’s followers who naturally come to the rescue. All ends happily with the death warrant received from King John actually being a pardon. Robin and Marion are reunited and there is ‘general rejoicing.’ Naturally there are many sub-plots and events worked into the story such as the ‘feasting in the forest’ and the ‘town fair’ scenes.
The score is full of attractive and often beautiful music that will leave the doubter speechless. It may not be Verdi or Donizetti - was all Verdi great? - but there is a quality of musical endeavour here that must surely strike the listener as being well beyond the perceived ‘dry as dust’ or overly sentimental qualities that have attached themselves to this period of British music. For example listen to Robin’s beautiful aria ‘My own, my guiding star’ from Act Two (CD2 Track 3) or to Marian’s gorgeous offering of True Love in Act 1 (CD1 Track 6). This is operatic music at its best, not over the top, but moving and attractive. The patriotic ballad ‘Englishmen by birth are free’ (CD1 Track 9) must be one of the highlights of the opera: one can imagine it going down exceptionally well at the height of the Victorian era. It is certainly as good as any of Sullivan’s arias such as Lord Mountararat’s ‘When Britain really ruled the waves’. One of the hits at the time of the first performance was Robin and the Greenwood men’s ‘The Grasping Normans’ (CD1 Track 14). It is difficult to say that any part of the opera is weak or falls below the standards set by these ‘hits’.
The performers in this groundbreaking recording are the Victorian Opera Chorus and Orchestra. Their mission is to record lost or forgotten operatic works by British composers. They are joined by the John Powell Singers. The soloists are professional and the chorus and orchestra are drawn from a variety of local groups and societies. The quality of the singing from the principals and chorus is excellent. All the players are kept in order by Ronald Corp, who has drawn an outstanding performance from all concerned.
The liner-notes are first-rate, the sound quality superb and the cover picture of ‘The Edge of Sherwood Forest’ is totally appropriate. Altogether a great production.
Let us hope that one day this work will be seen in all its glory on the stage: it is just the sort of opera that would go down a treat at the Buxton Festival. Meanwhile, the story of Robin Hood is so well known that even the least imaginative of listeners can provide the mental backcloth, scenery and props to this well-loved story.
So I was wrong. Robin Hood has seriously impressed me. As preparation for this review I have listened to it two or three times as well as picking out the purple passages. The more I hear this music the more it appears competent, attractive, often beautiful, sometimes moving and always interesting. And I am not an opera buff! In fact, I am coming to love it as much as I love G&S.
This is a CD that all opera fans ought to have. Some people will ignore it simply because it was written by an Englishman during Queen Victoria’s reign. They would be utterly misguided to do so. This is a great work; possibly the composer’s masterpiece and is a light opera (not operetta) that can hold its best up against anything offered by the Italians and the French and the Germans from the same period.
-- John France, MusicWeb International
Tracklist 33 tracks
- Disc 1
-
1 Overture 05:38
- Track
- 1
- Title
- Overture
- Duration
- 05:38
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
2 Act I: Introduction: Clang! Clang! It is a merry (Chorus) 06:59
- Track
- 2
- Title
- Act I: Introduction: Clang! Clang! It is a merry (Chorus)
- Duration
- 06:59
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
3 Act I: Ballad: The hunters wake (Alice, Chorus) 02:26
- Track
- 3
- Title
- Act I: Ballad: The hunters wake (Alice, Chorus)
- Duration
- 02:26
- Composer
- George Macfarren
- Performer
- Magdalen Ashman
- Ensemble
- Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
4 Act I: Duet: When lovers are parted (Robin, Marian) 02:55
- Track
- 4
- Title
- Act I: Duet: When lovers are parted (Robin, Marian)
- Duration
- 02:55
- Composer
- George Macfarren
- Performer
- Nicky Spence, Kay Jordan
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
5 Act I: Trio: A dark and troublous time (Robin, Marian, Sheriff) 03:08
- Track
- 5
- Title
- Act I: Trio: A dark and troublous time (Robin, Marian, Sheriff)
- Duration
- 03:08
- Composer
- George Macfarren
- Performer
- Nicky Spence, Kay Jordan, George Hulbert
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
6 Act I: Ballad: True love (Marian) 02:08
- Track
- 6
- Title
- Act I: Ballad: True love (Marian)
- Duration
- 02:08
- Composer
- George Macfarren
- Performer
- Kay Jordan
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
7 Act I: Scena and Song: The monk within his cell (Sompnour) 05:31
- Track
- 7
- Title
- Act I: Scena and Song: The monk within his cell (Sompnour)
- Duration
- 05:31
- Composer
- George Macfarren
- Performer
- Louis Hurst
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
8 Act I: Scena and Song: Be not severe (Allan, Robin, Chorus) 02:23
- Track
- 8
- Title
- Act I: Scena and Song: Be not severe (Allan, Robin, Chorus)
- Duration
- 02:23
- Composer
- George Macfarren
- Performer
- Andrew Mackenzie-Wicks, Nicky Spence
- Ensemble
- Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
9 Act I: Ballad: Englishmen by birth (Robin) 02:30
- Track
- 9
- Title
- Act I: Ballad: Englishmen by birth (Robin)
- Duration
- 02:30
- Composer
- George Macfarren
- Performer
- Nicky Spence
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
10 Act I: Finale: May the saints protect 06:10
- Track
- 10
- Title
- Act I: Finale: May the saints protect
- Duration
- 06:10
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
11 Act II Scene 1: Entr'acte 01:27
- Track
- 11
- Title
- Act II Scene 1: Entr'acte
- Duration
- 01:27
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
12 Act II Scene 1: Part Song: The wood, the wood (Outlaws) 02:03
- Track
- 12
- Title
- Act II Scene 1: Part Song: The wood, the wood (Outlaws)
- Duration
- 02:03
- Composer
- George Macfarren
- Performer
- John Molloy, Alex Knox
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
13 Act II Scene 1: Robbery Scene: A good fat deer (Robin, Much, John, Sompnour) 09:07
- Track
- 13
- Title
- Act II Scene 1: Robbery Scene: A good fat deer (Robin, Much, John, Sompnour)
- Duration
- 09:07
- Composer
- George Macfarren
- Performer
- Nicky Spence, Alex Knox, John Molloy, Louis Hurst
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
14 Act II Scene 1: Ballad: The grasping Normans (Robin, Greenwood men) 07:32
- Track
- 14
- Title
- Act II Scene 1: Ballad: The grasping Normans (Robin, Greenwood men)
- Duration
- 07:32
- Composer
- George Macfarren
- Performer
- Nicky Spence
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
15 Act II Scene 2: Scena: Hail happy morn (Marian) 09:07
- Track
- 15
- Title
- Act II Scene 2: Scena: Hail happy morn (Marian)
- Duration
- 09:07
- Composer
- George Macfarren
- Performer
- Kay Jordan
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
16 Act II Scene 2: Ballad: From childhood's dawn (Sheriff) 03:10
- Track
- 16
- Title
- Act II Scene 2: Ballad: From childhood's dawn (Sheriff)
- Duration
- 03:10
- Composer
- George Macfarren
- Performer
- George Hulbert
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
17 Act II Scene 2: Duet: To the fair (Marian, Alice) 02:37
- Track
- 17
- Title
- Act II Scene 2: Duet: To the fair (Marian, Alice)
- Duration
- 02:37
- Composer
- George Macfarren
- Performer
- Kay Jordan, Magdalen Ashman
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
18 Act II Scene 3: Chorus: How bright is the day (Allan, Alice, Robin, Marian) 03:44
- Track
- 18
- Title
- Act II Scene 3: Chorus: How bright is the day (Allan, Alice, Robin, Marian)
- Duration
- 03:44
- Composer
- George Macfarren
- Performer
- Andrew Mackenzie-Wicks, Magdalen Ashman, Nicky Spence, Kay Jordan
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
- Disc 2
-
1 Act II Scene 3: Dances: Round dance and Tilting at the Quintain 04:57
- Track
- 1
- Title
- Act II Scene 3: Dances: Round dance and Tilting at the Quintain
- Duration
- 04:57
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
2 Act II Scece 3: Scena: Hoodman blind (Villagers) 09:52
- Track
- 2
- Title
- Act II Scece 3: Scena: Hoodman blind (Villagers)
- Duration
- 09:52
- Composer
- George Macfarren
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
3 Act II Scene 3: Song: My own, my guiding star (Robin) 02:41
- Track
- 3
- Title
- Act II Scene 3: Song: My own, my guiding star (Robin)
- Duration
- 02:41
- Composer
- George Macfarren
- Performer
- Nicky Spence
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
4 Act II Scene 3: Ensemble: Merry laughter (Sheriff, Marian, Alice, Allan, Company) 06:23
- Track
- 4
- Title
- Act II Scene 3: Ensemble: Merry laughter (Sheriff, Marian, Alice, Allan, Company)
- Duration
- 06:23
- Composer
- George Macfarren
- Performer
- George Hulbert, Kay Jordan, Magdalen Ashman, Andrew Mackenzie-Wicks
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
5 Act II Scene 3: Quintet: My heart from its terror (Marian, Alice, Robin, Allan, Sheriff) 02:23
- Track
- 5
- Title
- Act II Scene 3: Quintet: My heart from its terror (Marian, Alice, Robin, Allan, Sheriff)
- Duration
- 02:23
- Composer
- George Macfarren
- Performer
- Kay Jordan, Magdalen Ashman, Nicky Spence, Andrew Mackenzie-Wicks, George Hulbert
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
6 Act II Scene 3: Finale: My children thus your lives (Sheriff, Company) 06:27
- Track
- 6
- Title
- Act II Scene 3: Finale: My children thus your lives (Sheriff, Company)
- Duration
- 06:27
- Composer
- George Macfarren
- Performer
- George Hulbert
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
7 Act III Scene 1: Entr'acte 03:18
- Track
- 7
- Title
- Act III Scene 1: Entr'acte
- Duration
- 03:18
- Composer
- George Macfarren
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
8 Act III Scene 1: Duet: Greatest plague on earth (Allan, Alice) 03:05
- Track
- 8
- Title
- Act III Scene 1: Duet: Greatest plague on earth (Allan, Alice)
- Duration
- 03:05
- Composer
- George Macfarren
- Performer
- Andrew Mackenzie-Wicks, Magdalen Ashman
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
9 Act III Scene 1: Scena: My child has fled (Sheriff) 06:08
- Track
- 9
- Title
- Act III Scene 1: Scena: My child has fled (Sheriff)
- Duration
- 06:08
- Composer
- George Macfarren
- Performer
- George Hulbert
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
10 Act III Scene 1: Duet: To King Richard at once (Sheriff, Sompnour) 04:04
- Track
- 10
- Title
- Act III Scene 1: Duet: To King Richard at once (Sheriff, Sompnour)
- Duration
- 04:04
- Composer
- George Macfarren
- Performer
- George Hulbert, Louis Hurst
- Ensemble
- Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
11 Act III Scene 2: Part Song: Now the sun has mounted (Citizens) 06:21
- Track
- 11
- Title
- Act III Scene 2: Part Song: Now the sun has mounted (Citizens)
- Duration
- 06:21
- Composer
- George Macfarren
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
12 Act III Scene 2: Song: Sons of the greenwood (Marian, Greenwood men) 02:45
- Track
- 12
- Title
- Act III Scene 2: Song: Sons of the greenwood (Marian, Greenwood men)
- Duration
- 02:45
- Composer
- George Macfarren
- Performer
- Kay Jordan
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
13 Act III Scene 3: Scena: Vain was the proud ambition (Robin, Marian, Chorus) 08:55
- Track
- 13
- Title
- Act III Scene 3: Scena: Vain was the proud ambition (Robin, Marian, Chorus)
- Duration
- 08:55
- Composer
- George Macfarren
- Performer
- Nicky Spence, Kay Jordan
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
14 Act III Scene 4: Finale: Hark, to that doleful bell (Full company) 07:50
- Track
- 14
- Title
- Act III Scene 4: Finale: Hark, to that doleful bell (Full company)
- Duration
- 07:50
- Composer
- George Macfarren
- Performer
- Nicky Spence, George Hulbert, Louis Hurst, Andrew Mackenzie-Wicks, John Molloy, Alex Knox, Kay Jordan, Magdalen Ashman
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp
-
15 Act III Scene 4: Finale ultimo: We've made a slight mistake (Full company) 04:48
- Track
- 15
- Title
- Act III Scene 4: Finale ultimo: We've made a slight mistake (Full company)
- Duration
- 04:48
- Composer
- George Macfarren
- Performer
- Nicky Spence, George Hulbert, Louis Hurst, Andrew Mackenzie-Wicks, John Molloy, Alex Knox, Kay Jordan, Magdalen Ashman
- Ensemble
- John Powell Singers, Victorian Opera Chorus, Victorian Opera Orchestra
- Conductor
- Ronald Corp