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For All Savoyards, the News Is Good

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For All Savoyards, the News Is Good throughout, as might be expected from the presence of young listeners. There may even be a risk of incurring such soloists as Arnold Eidus, Sylvan Shulman, and the aural equivalent of strabismus ( "an affection of the David Nadien (in the 22 -man violin section), or of eyes in which the axes of vision cannot be coincidentally Emanuel Vardi and Harry Zaratzian among the violists. directed to the same object "). Certainly there are mo- My only hesitation about these discs is that the in- ments here when I definitely sense my ears "crossing "! sistent emphasis on sound- source localizations and I wouldn't go so far as to say that this necessarily results channel jumping (the latter once a stereo sin, but now in a "cockeyed image" of music; nevertheless, I can't deliberately cultivated as a positive virtue) panders to help fearing that if "stereoismus" ever becomes chronic, a craving for exaggerated sonic movement which may it may fulfill the secondary definition of strabismus as a perhaps spoil more orthodox music making for many "perversity of intellectual perception." R.D.D. For All Savoyards, the News Is Good "Iolanthe. " Soloists; Glyndebourne Festival Chorus; Pro Arte Orchestra, Sir Malcolm Sargent, cond. Angel 3597 B /L, $10.98 (Two LP); S 3597 B /L, $12.98 (Two SD). Sargent Morison FOR ALL Gilbert and Sullivan devotees, but especially You're Lying Awake, which he takes more slowly than for that little coterie who have a very particular af- Martyn Green used to, without making it in any way a fection for lolanthe, the news is wonderful. The new An- less successful tour de force. As for the other male mem- gel recording of what is possibly the most musical of all bers of the cast, John Cameron does as well as anyone the famous G & S operas is a stunning success, a shining I've ever heard to make Strephon believable and attrac- example of what can happen when affection and good tive; Owen Brannigan brings a large, orotund bass musical taste are conjoined. Immediately, from the lov- voice to bear on the Sentry's Song to fine effect; and Ian ingly played opening phrases of the Overture (one of the Wallace and Alexander Young sing the two Earls few that Sullivan himself orchestrated), it is obvious that splendidly. we are in for a rare orchestral performance of the score; The distaff side provides equal felicities. Elsie Morison and by the time the final notes of the jaunty closing air is a most winsome Phyllis, singing with unusual assur- die away, we know we have had it. Sir Malcolm is in ance and much artfulness. It was Gilbert's whim to make wonderful form, offering a beautifully shaped, jocund, the Queen of the Fairies a rather plumpish lady, and it is and lilting reading that gleams at every point. And per- Monica Sinclair's triumph that this is what one actually haps catching some of the conductor's liking for the sees in her portrayal. The voice, a dark contralto, is used music, the Pro Arte Orchestra plays with both tonal with great discretion and musicality. As lolanthe, Mar- beauty and great enthusiasm. jorie Thomas is in excellent voice, though sometimes Turning to the vocal department, one finds the news overcautious (but perhaps in a waterlogged fairy this is equally good. I doubt that I have ever heard this music understandable). Two newcomers to the company, April sung more beautifully by everyone concerned, nor, I Cantelo and Heather Harper, sing the music of Celia and might add, more stylishly. There is now considerably Leila with a good deal more distinction than is usually more interplay and communication between characters the case. All in all, a nearly faultless vocal account of than in earlier issues by this group, and the style has be- Sullivan's lovely score. come both distinguished and correct. In a company of Angel's engineers have gone all out to provide a most such general excellence as this, I feel that the work of the seductive sound on both issues. If not much stereo illu- veteran George Baker as the Lord Chancellor needs some sion, there is a little more body and fullness to that ver- very special commendation. Baker is now over seventy, a sion than to the LP, though the latter too has an un- fact you would scarcely guess from his lively, dry por- deniably pleasant, comfortable sound quality. No matter trayal and excellent vocal performance. He is particu- which you buy, you cannot fail to be enchanted by the larly resourceful in the celebrated patter song When entire performance. J.F.I. 72 HIGH FIDELITY MAGAZINE .
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