For me, the measure of a performance of Yeomen of the Guard is the finale of Act I, and Elsie's solo backed by the chorus. This performance nailed it. There are other elements which could have been improved, but this is one of the better performances on TH-cam, in my opinion. Kudos!Now, does it compare with the D'Oyly Carte Opera Comany' s performance of Jan 8 1973 at Sadler's Wells? No. I got chills from that performance. It was one of two times I got shivers down the spine (the other being a Covent Garden performance of Swan Lake with Fonteyn & Nuryeev). But this is very good. Well done.
yes having been in a few of these G&S productions the libretti always gave the title and underneath the alternate title and then "a comic opera in two Acts" unless the opera was Princess Ida in 3 Acts
This one actually isn't an operetta, or light opera. While it contains many puns, it is not of comical nature and contains no twists. Furthermore, the light Savoy operas had a smaller orchestra, The Yeomen of the Guard used a full orchestra. Indeed, while most Gilbert and Sullivan is light opera/operetta, this one is not and singlentendre is right, it is an opera.
Exactly so. It should be classified as an opera WITH spoken dialogue, the exception (maybe like Carmen) that proves the rule. The music and the sentiments in the story - especially Jack Point's poignant end - are the stuff of opera. If played properly throughout, Yeomen can have the effect at the end the same as Traviata or Boheme.
Opera/Operetta-YBy the time this was written the line had already been blurred. Yeoman was written well after Magic Flute, and Sullivan would certainly have been aware of Carmen and Der Freischuetz--I think in fact that his music showed quite an influence of Von Weber--certainly in the conjuring scene of the Sorcerer.
Many people disagree on whether this is an operetta or an opera. Although it may have more qualities of an opera, it is officially classified as an operetta.
i believe that although it is classed as an operetta, this is the closest to a true opera that sullivan wrote, for this was his desire at the time, oft causing rifts with gilbert. only the gondoliers, utopia and grand duke followed, the last two often a mix n' mach of already written score.
Did not remember about Ivanhoe!, which was very Grand Opera on a vast scale, and suffered for it!! Carte lost money on the venture, and it is said Sullivan bailed him out, with Gilbert out of the venture as he foresaw the difficulties of filling such a large house, he was ever a more practical business man! Sullivan was wealthy, but had business problems, bad advisers, and gambled most of the rest away! Carte's main income was as a landlord and owner of the Savoy Hotel.
Purely used by those espousing their cause... in the UK, Groves Musical dictionary definitions were mainly used to define what was Opera and what was not... also the opinion of the critics like GBS etc., in the press, and whether the author called it an Opera or not on the libretto or music. Sullivan was a bit of a stickler for musical definitions, Gilbert was far more flexible, he just created "entertainments".. and what wonderful entertainments!!!
And what is the "official" which classified it as such? As far as I know, there is no official body on "opera classification." It seems to me as if it's more of a matter of who makes the better argument.
All right, I realize that this comment is nit-picking, but seriously -- a REAL spinning wheel is not all that difficult to come by, especially for an actual opera company. In a decent-sized city there would be weaving guilds, reenactors, and fiber-supply dealers who could lend or rent out a real one for the duration of the play's run. The jury-rigged wooden 'pretend' wheel here (no treadles, no moving parts) looks like something cobbled together in wood shop class for a high-school theater department. Rowan's props master should be sentenced to a week in the stocks... Besides that, I agree. I can't understand Phoebe at all, and whoever is singing Dame Carruthers does something really odd with her vowels. What's up with that?
It was classed as an Operetta by Sir Arthur Sullivan, and as a light opera by others at the time of it's first performance, it did raise many comments as to it's more serious nature, but then there are Comic Operas as well, and Grand Opera, which The Yeoman is most definitely not. Gilbert saw it as an Operetta of a more serious nature, but he could not give up the comic touches and overtones. Haddon Hall was Sir Arthur Sullivan's Opera, and it was not a success on the scale of the Savoy works.
You forget Ivanhoe, which was Sullivan's true foray into the realm of what he himself considered Grand Opera. Which, by the way, he did approach Gilbert to write the libretto for. Also not a success on the scale of most of the Savoy operas.
Sergeant Meryll should sing what Sullivan wrote for him, not attempt to "raise the harmonic interest." Those who don't like the composer's chords are welcome to write their own music. Yeomen is not an opera. An opera by traditional definition has no spoken words; it's all sung. An operetta, which all the G & S shows are, has music separated by dialogue. They called their works "comic operas" in an attempt to denote quality higher than music hall shows. When done right, Yeomen is funny, too.
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This was the finest performance of Yeoman ever!
Thank you very much for this complete recording of my favourite Gilbert And Sullivan Operetta.
well sung and beautifully accompanied by an amazing orchestra
For me, the measure of a performance of Yeomen of the Guard is the finale of Act I, and Elsie's solo backed by the chorus. This performance nailed it. There are other elements which could have been improved, but this is one of the better performances on TH-cam, in my opinion. Kudos!Now, does it compare with the D'Oyly Carte Opera Comany' s performance of Jan 8 1973 at Sadler's Wells? No. I got chills from that performance. It was one of two times I got shivers down the spine (the other being a Covent Garden performance of Swan Lake with Fonteyn & Nuryeev). But this is very good. Well done.
Hey, thanks! :D - Wilfred
yes having been in a few of these G&S productions the libretti always gave the title and underneath the alternate title and then "a comic opera in two Acts" unless the opera was Princess Ida in 3 Acts
This one actually isn't an operetta, or light opera. While it contains many puns, it is not of comical nature and contains no twists. Furthermore, the light Savoy operas had a smaller orchestra, The Yeomen of the Guard used a full orchestra. Indeed, while most Gilbert and Sullivan is light opera/operetta, this one is not and singlentendre is right, it is an opera.
Exactly so. It should be classified as an opera WITH spoken dialogue, the exception (maybe like Carmen) that proves the rule. The music and the sentiments in the story - especially Jack Point's poignant end - are the stuff of opera. If played properly throughout, Yeomen can have the effect at the end the same as Traviata or Boheme.
Opera/Operetta-YBy the time this was written the line had already been blurred. Yeoman was written well after Magic Flute, and Sullivan would certainly have been aware of Carmen and Der Freischuetz--I think in fact that his music showed quite an influence of Von Weber--certainly in the conjuring scene of the Sorcerer.
Many people disagree on whether this is an operetta or an opera. Although it may have more qualities of an opera, it is officially classified as an operetta.
i believe that although it is classed as an operetta, this is the closest to a true opera that sullivan wrote, for this was his desire at the time, oft causing rifts with gilbert. only the gondoliers, utopia and grand duke followed, the last two often a mix n' mach of already written score.
In either case, it is my favourite G&S :)
Did not remember about Ivanhoe!, which was very Grand Opera on a vast scale, and suffered for it!! Carte lost money on the venture, and it is said Sullivan bailed him out, with Gilbert out of the venture as he foresaw the difficulties of filling such a large house, he was ever a more practical business man! Sullivan was wealthy, but had business problems, bad advisers, and gambled most of the rest away! Carte's main income was as a landlord and owner of the Savoy Hotel.
Purely used by those espousing their cause... in the UK, Groves Musical dictionary definitions were mainly used to define what was Opera and what was not... also the opinion of the critics like GBS etc., in the press, and whether the author called it an Opera or not on the libretto or music. Sullivan was a bit of a stickler for musical definitions, Gilbert was far more flexible, he just created "entertainments".. and what wonderful entertainments!!!
And what is the "official" which classified it as such? As far as I know, there is no official body on "opera classification." It seems to me as if it's more of a matter of who makes the better argument.
All right, I realize that this comment is nit-picking, but seriously -- a REAL spinning wheel is not all that difficult to come by, especially for an actual opera company. In a decent-sized city there would be weaving guilds, reenactors, and fiber-supply dealers who could lend or rent out a real one for the duration of the play's run. The jury-rigged wooden 'pretend' wheel here (no treadles, no moving parts) looks like something cobbled together in wood shop class for a high-school theater department. Rowan's props master should be sentenced to a week in the stocks... Besides that, I agree. I can't understand Phoebe at all, and whoever is singing Dame Carruthers does something really odd with her vowels. What's up with that?
RKHageman 451
What about Ivanhoe? D'Oyle even opened a new opera hall for it, and apparently it was a success, but not as much as they wanted...
It was classed as an Operetta by Sir Arthur Sullivan, and as a light opera by others at the time of it's first performance, it did raise many comments as to it's more serious nature, but then there are Comic Operas as well, and Grand Opera, which The Yeoman is most definitely not. Gilbert saw it as an Operetta of a more serious nature, but he could not give up the comic touches and overtones.
Haddon Hall was Sir Arthur Sullivan's Opera, and it was not a success on the scale of the Savoy works.
@jackpoint188 *opera
it is an operetta.
disappointing sound quality
Exactly!
hey I know it's been 10 years, but ... this is a transfer of a VHS copy so at least it's in color and has audio! ;)
"Well sung and well danced!" ; good performance, too bad that Phoebe's over the top slapstick really doesn't work...
You forget Ivanhoe, which was Sullivan's true foray into the realm of what he himself considered Grand Opera. Which, by the way, he did approach Gilbert to write the libretto for. Also not a success on the scale of most of the Savoy operas.
stagetenore y
Love this opera watched several times
Sergeant Meryll should sing what Sullivan wrote for him, not attempt to "raise the harmonic interest." Those who don't like the composer's chords are welcome to write their own music.
Yeomen is not an opera. An opera by traditional definition has no spoken words; it's all sung.
An operetta, which all the G & S shows are, has music separated by dialogue. They called their works "comic operas" in an attempt to denote quality higher than music hall shows. When done right, Yeomen is funny, too.
Over-acting, anyone?