I believe that the score to Arthur Sullivan’s “The Gondoliers” is his happiest, while the plot is a topsy-turvy affair in the true William S. Gilbert manner.. In the past, The Ohio Light Opera has been performing and recording on CDs full productions of rarely done operettas. The Gilbert & Sullivan works so far in their series of recordings have fairly complete dialogue and therefore are in competition with the D’Oyly Carte recordings of those works that contain only the musical segments..
However, the latest release on the Troy label, “The Gondoliers,” has competition from a D’Oyly Carte recording with dialogue on the Decca label; and I was afraid that this OLO version would suffer in comparison. In two words, it doesn’t!
This is a nearly perfect recording of the musical tale of two gondoliers, Marco (Jack Beetle) and Giuseppe (Nicholas Hartley), who having just married Gianetta (Kemper LeCroy-Flarin) and Tessa (Sahara Glasener-Boles) then learn from the Grand Inquisitor Don Alhambra del Bolero (Gary Moss) that one of them is really the King of Barataria and (later in Act II) that the same one is also married to Casilda (Anne Marie Frohnmayer), the daughter of the out-of-pocket Duke and Duchess of Plaza-Toro (Ted Christopher and a light-voiced Sandra Ross). Trouble is, no one but the king’s mother knows which is the king and which the gondolier. And she is on her way to sort things out.
And so the two rule jointly as a monarchy based on republican (small “r”) principles. The only satire is against the belief that ALL people can be equal in rank, and that line of thought comes to an end half way into Act II. The plot’s ending is a nod to one of Giuseppe Verdi’s operas, and no more need be said.
The dialogue is spoken with a good tempo and the enunciation is very good with final “t’s” and “d’s carefully hit off. (I cannot understand why “livery” is pronounced with a long “i,” but let that go.) The dialogue is absolutely complete and the music is conducted with verve by J. Lynn Thompson.
The booklet has minimal notes abut the background of the play and the entire text of the dialogue and songs. I would call this one a Grabbit.