Відео

Used to love doing that job for my mum many years ago.

Great to have this. It’s not quite correct to say she isn’t remembered as a singer. On Broadway she was primarily known as that, having originated at least three roles, the most famous being Ruth in the Joe Papp PIRATES OF PENZANCE (which is on UA-cam). In the West End she triumphed in COWARDY CUSTARD (her definitive MARVELLOUS PARTY can be found on UA-cam, too), as the Old Lady in CANDIDE, and as Nettie in CAROUSEL, singing YOU'LL NEVER WALL ALONE. All in all, then, she had a formidable career as a singer.

Interviewer sounds like Michael Aspel. I wouldn't have recognised Arthur Marshall from those pictures. Quite different to my memory of him from Call My Bluff 😄

This piece is truly incredible!!!

Jeanette Sinclair is a spirited Ida and so nice to find her in this leading role. So talented.

Where is the Herald's song?

Amazing recording. Very few do these tales justice. Joyce and Stanley are sublime thank you so much.👍

28:02 the best performance of the violin sonata ive ever heard

Wow, listening to music recorded exactly 100 years ago is a funny experience! It sounds good, too. I noticed that "The Archers' Theme" is a little like Sibelius' Alla Marcia from The Karelia Suite, so did some research, and found out it's called Barwick Green, with Arthur Wood the composer. I noticed in this full version two references to Brahms as well. Fascinating. Thanks!

Boughton started the Glastonbury Music festival!

Interesting footnote. Franz Liszt had set the entire first scene of The Golden Legend, "The Bells of Strasburg Cathedral," in his 1874 choral work "Excelsior!" (in German, I believe). In April, 1886, the elderly Liszt made his final visit to London, where one of the people who ushered him around the city was... Sullivan, whose Golden Legend was to have its premiere in October of the same year.

My brother, around 1987 time, suddenly hijacked the opening march to this work, and after his favourite football team had come good in their sport. He suddenly started singing "Beer, beer, we want more beer, everybody's cheering get the f*****g beer in," to the main tune of it. Not sure who he got those words from.

Such a wonderful piece! A delightfully parody of Shakespeare 👏👏👏

enigmathemeunmasked.blogspot.com/2012/07/joseph-coopers-enigma-solution-refuted.html?m=1

Appearances can be deceiving. ua-cam.com/video/JGQpLqzVZDU/v-deo.htmlsi=sr4rCb9GpjKUG0BY

Great job, it sounds amazing for its age!

Thank you so much for uploading the complete version! I was planning on burning this to a CD, but didn't want to have to cobble together the last few scenes from separate performances.

24:06

Thanks for this, Chris, I've only just found it!

A correction: It was not called Network Three. The proper title in 1966 was the BBC Third Programme. The name was changed to BBC Radio 3 in the 1970's. The original name came from the fact that the first BBC station was called The BBC Home Service, and the second was called The BBC Light Programme. Naturally the next was called the Third Programme. The BBC World Service has been for international broadcasting, and it keeps that name to this day. The Home Service is now called BBC Radio 4 and the Light Programme is called BBC Radio 2. Radio 1 was added when the names were changed, and is for the latest popular music.

Late to the party here. I have heard many a rendition of the 5 Grimes pieces and once owned a van Beinum LP of them. For years I have rated the Previn as 'tops' -- aided by very good recording technology -- but re-visiting the van Beinum thanks to your upload I understand more deeply why the Dutch maestro saw the Interludes and Passacaglia as being a whole piece. It seems that Cantelli felt the same way but, sadly, did not record it. Britten had been persuaded to allow the pieces to be played as an orchestral suite but did not ascribe an Op.# until 1948. He was quicker to make an orchestral suite from 'Gloriana' the year after its problematical premiere in 1953 but always declined to make an orchestral suite from 'Billy Budd'. Edward van Beinum's Decca recording (here) and live performances which were recorded in various conditions show Britten's 'modernism' alongside his sense of form. The key relationship between 'Dawn' and the Passacaglia is especially interesting. Thank you.

Is this the complete recording? If not, was there one that was ever recorded?

I am happily surprised that this BBC version, with actors reading the dialogue and more "legitimate" singers is much more lively than the D'Oyly Carte Version the same era. I never much liked "The Sorcerer", but was quite delighted with this "new" take. Thanks for posting.

This was the festival at which The Apostles and The Kingdom were also performed.

Donald Hunt was deeply hurt that he was not chosen to conduct this concert.

The sorceress is absolutely phenomenal!!!! Brava Mary Jarred!!!! Her skill really enabled her to stand out fantastically in comparison with the other singers despite the limitations of the recording!!! Such wonderful diction, perfect registration, and theatrical prowess!!! Fabulous!!!!

Thank you. There are so few sensible versions of G&S operas without people trying to 'put their mark' onto these classic works.

This is an interesting juvenile composition but it is perhaps significant that it has not had a significant stage presentation. I can't remember the one I attended in Richmond apart from the Ariel a male actor who put over the songs quite well. "Where the Bee Sucks" is the best. Really the storm at the beginning is tentative and the score doesn't include much e. g. the comic roles in the illustration. If you know Sibelius's very complete version (there was even a concluding aria for Prospero possibly in the Proms version, unrecorded). Needless to say his storm is terrifying with the splashing of the heavy waves!

1:00:40 Romantic 😍😭 And super attractive Esmond Knight 😊

And Patricia Routledge also sang this trio (with slightly tweaked lyrics) as Ruth in the first incarnation of Joseph Papp's Central Park production of The Pirates of Penzance, with Rex Smith (Frederic) and Kevin Kline (Pirate King). I believe the other part that Routledge recorded for this BBC series was the title role in Iolanthe, an entirely serious character... though interestingly written and composed by G & S for the same singer as Mad Margaret, Jessie Bond.

Thanks, I hope this will encourage others to listen to this fine work. The complete performance (i.e. all three parts) has been reissued in CD by SOMM. There was an earlier Norman del Mar broadcast of part III with John Noble as the philosopher. Maybe that will turn up too.

The photo, of course, features the divine Bertice.

Thank you for posting this wonderful version of Jewels of the Madonna. The Neapolitan Dance is one of my favorite pieces of classical music.

The first few times I watched this opera, The 'orphan'/'often' joke flew right above my head.

What was the missing segment?

Very nice! If it's opera/operetta/ musical the roles were "played" by so-and-so. I learnt recently that John Boulter was Anna Dawson's husband! Both Leslie Fyson and Kenneth Sandford could sing both tenor and baritone and were good actors. I'll try the Volksoper, Vienna production on UA-cam!

Had read that Nelson Eddy got good reviews in his youth when he sang this piece which I had never heard.This voice is likewise very vibrant.

🌹

I also sang this in school with Terry Hunt and the NSW Schools orchestra.

Great music - and no ads! Thanks!

1880 Language of Flowers, The, Suite de ballet, Set No. 1, first performance, St. James’s Hall, London, 1880, published by Metzler & Co, London (1881), Suite (Ballet) 2(picc).222/4231/timp/perc/hp/str The Language of Flowers, Suite de Ballet, six short pieces for orchestra, are a set of elegant and dainty pieces, which really epitomise Cowen’s lighter graceful side, coming as a relief from the gravity of the other more serious works performed at the Saturday Concerts. They quickly entered the repertoire and were exceedingly fashionable in their day, sometimes being heard as a complete set, but more often, as individual pieces. Indeed, ‘Yellow Jasmine’, the fifth movement, became a very popular item in its own right. Each movement was entitled with the name of a flower and associated with a mood or emotion, and also accompanied by a quotation chosen by Joseph Bennett: No. 1 - Innocence - Daisy ‘Wee, modest, crimson-tippit flower’ - (Burns) Allegretto scherzando (G major - 6/8 time) No. 2 - First Emotions of Love - Lilac ‘I dreamed that love Should steal upon the heart like summer dawn, On the awakening world, soft, gradual’ - (M. C. Hume) Andante (F major - 3/4 time) No. 3 - Fascination - Fern ‘She’s outwardly…all that entices; Nor is it in our virtue to uncharm it’ - (Beaumont) Moderato (B flat major - C time) No. 4 - Folly - Columbine ‘Yet folly ever has…a trifling air’ - (Cowper) Scherzo, Presto (C major - 3/4 time) No. 5 - Elegance and Grace - Yellow Jasmine ‘We were charmed…for the beautiful was there Triumphant’. - (Talfourd) Tempo di Gavotte No. 6 - Gaiety - Lily ‘What more than mirth would mortals have? The cheerful man’s a king’. - (Bickerstaff) Allegro (E flat major - 3/4 time) This music is simplicity itself, sweetness and light, beauty purely for beauty’s sake.

I found this LP today!

What a great find! Thanks, Chris! Considering the source and age of the cassette, the sound is remarkably good.

1:09:53 act 1 finale

41:02-Now take a card and gaily sing

33:06-About a century since

I sang in this in high-school . It still seems as magical to me as then.

Valerie Masterson is fantastic as Mabel.

Thank you for posting this recording of this unjustly neglected giant. Lots of details audible here that aren't in the commercial recordings - and del Mar is very good at *shaping* what in other hands might appear too loose. You've given us a real treat.