Sullivan, A: Ivanhoe

Chandos: CHAN10578(3)

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Sullivan, A: Ivanhoe

Awards:

BBC Music Magazine

Opera Choice - April 2010

Label:

Chandos

Catalogue No:

CHAN10578(3)

Discs:

3

Release date:

1st Feb 2010

Barcode:

0095115157824

Length:

2 hours 45 minutes

Medium:

CD (download also available)
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Sullivan, A: Ivanhoe


Janice Watson (Lady Rowena), Geraldine McGreevy (Rebecca), Catherine Wyn-Rogers (Ulrica), Toby Spence (Wilfred, Knight of Ivanhoe), Peter Wedd (Maurice de Bracy), Andrew Staples (Locksley/The Squire), Peter Rose (Cedric the Saxon), James Rutherford (Sir Brian de Bois-Guilbert), Neal Davies (Richard Cœur-de-Lion), Matthew Brook (Friar Tuck), Stephen Gadd (Prince John) & Leigh Melrose (Isaac, the Jew of York)

Adrian Partington Singers & BBC National Orchestra of Wales, David Lloyd-Jones

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‘It will be an historical work, and it is the dream of my life. I do not believe in operas based on gods and myths. What we want are plots which give rise to characters of flesh and blood, with human emotions and human passions. Music should speak to the heart and not to the head…’ Sullivan back in 1885 with his ideas for Ivanhoe.

Ivanhoe, perhaps Sir Walter Scott’s most popular novel, was the perfect choice for historical opera and launched D’Oyly Carte’s ambitious English Royal Opera (now home to the Palace Theatre), where this romantic opera of three hours – ran with a double cast in one of London’s largest and most expensive theatre, on consecutive nights, for 155 performances, one of the most extraordinary runs ever achieved by any opera. In 1891, anyone in London wishing to experience some music would have had a remarkable choice. Ivanhoe was playing at the Royal English Opera, The Gondoliers was still drawing the crowds at the Savoy, and there was a performance of The Golden Legend at Covent Garden. It is hard to think of another musical personality in the history of British music, other than Handel, who had dominated London in this way

The sheer breath and variety of Scott’s invention in Ivanhoe is astonishing, and it is one of the most significant operatic works to have originated in Britain. It was written when Sullivan was at the height of his powers, with his typical fluency in word-setting and mastery of orchestration, and it breathes his natural empathy and humanity. Sullivan’s career was, by any standards, an extraordinary one, and this was its zenith.

This is the first professional commercial recording of Ivanhoe and features a cast, including Janice Watson, Toby Spence, Catherine Wyn-Rogers and Geraldine McGreevy. Conductor David Lloyd-Jones who has previously conducted Sullivan works makes his debut with Chandos. The work is dedicated to Richard Hickox who was instrumental in making this recording.

Arthur Sullivan: Ivanhoe

Act I Scene 1: Introduction

Act I Scene 1: Each day this realm of England faints and fails (Cedric, Men)

Act I Scene 1: Good Thane, most noble Thane, I pray … (Isaac, Men, Cedric, Squire)

Act I Scene 1: Welcome, Sir Knights! (Cedric, de Bracy, Brian, Isaac, Women, Men, Rowena)

Act I Scene 1: Drink, drink ye all … (Cedric, Men, de Bracy, Brian, Rowena, Ivanoe, All)

Act I Scene 1: The Palmer! The holy Palmer! (Men, Ivanhoe, Cedric, Brian, Rowena, de Bracy)

Act I Scene 1: Is she not fair? And she is rich withal (de Bracy, Brian, Men)

Act I Scene 2: O moon, art thou clad in silver mail … (Rowena)

Act I Scene 2: Good Palmer, thou didst speak of one I knew … (Rowena, Ivanhoe)

Act I Scene 2: Like mountain lark my sprit upward springs (Ivanhoe, Isaac)

Act I Scene 3: Will there be no more fighting? (Sopranos, Chorus, Friar, King, All)

Act I Scene 3: Chorus: Plantagenesta! (All)

Act I Scene 3: Isaac, my Jew, my purse of Gold (Prince John, Cedric, de Bracy, Rebecca)

Act I Scene 3: Tis from our Royal brother, Louis of France (Prince John, Heralds, Crowd)

Act I Scene 3: What means his motto? (Sopranos, Crowd, Friar, Locksley, Prince John, Rowena, Cedric, All)

Act II Scene 1: Strange lodging this for England's King (King, Friar)

Act II Scene 1: There is a custom in the East (King, Friar)

Act II Scene 1: I ask nor wealth nor courtier's praise (King)

Act II Scene 1: Not bad, say I, nor badly sung! (Friar, King)

Act II Scene 1: The wind blows cold across the moor (Friar, Outlaws)

Act II Scene 1: And now for combat! Where's this friend of mine? (Friar, King, Locksley, Chorus)

Act II Scene 2: Will not our captor dare to show his face? (Cedric, de Bracy, Rowena)

Act II Scene 2: Welcome, Sir Templar! But I may not stay (de Bracy, Brian)

Act II Scene 2: Her southern splendour, like the Syrian Moon (Brian)

Act II Scene 3: Whet the keen axes (Ulrica, Rebecca)

Act II Scene 3: O awful depth below the castle wall! (Rebecca)

Act II Scene 3: Lord of our chosen race (Rebecca)

Act II Scene 3: Take thou these jewels; here is wealth enow … (Rebecca, Brian)

Act II Scene 3: What sound is that? (Rebecca, Brian)

Act III Scene 1: Happy with winged feet (Ivanhoe)

Act III Scene 1: Tend thou the Knight thou lovest (Ulrica, Rebecca)

Act III Scene 1: Ah, would that thou and I might lead our sheep … (Rebecca, Ivanhoe)

Act III Scene 1: But hark! what sound is in mine ear? (Ivanhoe, Rebecca)

Act III Scene 1: I see them now; the dark wood moves with bows (Rebecca, Tenors, Basses, Ivanhoe)

Act III Scene 1: How canst thou know what pain it is to lie … (Ivanhoe, Rebecca, Soldiers, Brian, Outlaws, Ulrica, All)

Act III Scene 2: Light foot upon the dancing green (Outlaws, King, Ivanhoe)

Act III Scene 2: Maurice de Bracy, faithless knight (King, de Bracy)

Act III Scene 2: Look, where thy moody father walks apart (King, Ivanhoe, Cedric, Rowena)

Act III Scene 2: How oft beneath the far-off Syrian Skies … (Ivanhoe, Rowena)

Act III Scene 2: Knight, Knight, of Ivanhoe, I come for thee! (Isaac, Ivanhoe, Rowena)

Act III Scene 3 Fremeure principes (Templars)

Act III Scene 3: Thou Jewish girl, who art condemned to die … (Grand Master, Rebecca)

Act III Scene 3: It shall not be (Brian, Grand Master, Rebecca)

Act III Scene 3: A champion! A champion! A champion! (Voices, Ivanhoe, Chorus, Rebecca, Brian)

Act III Scene 3: Chorus: A judgement! A judgment! (King, Grand Master, Templars)

Act III Scene 3: See where the banner of England floats afar … (King, Templars, Rebecca, Rowena, Ivanhoe, Cedric, All)

Sunday Times

14th February 2010

***

“Sullivan’s tuneful score makes for pleasant listening in this recording, planned for the late Richard Hickox, but stylishly conducted by David Lloyd-Jones. A fine British cast is headed by Toby Spence and Geraldine McGreevy, with James Rutherford as the lustful baddie.”

The Observer

21st February 2010

“Here at last is a recording...that makes the best possible case for the opera. David Lloyd-Jones conducts with an ideal balance of swagger and lyricism...Anyone who enjoys the serious side of Sullivan, as in The Yeomen of the Guard, will find much to enjoy here”

Gramophone Magazine

March 2010

“That this first fully professional recording so clearly outclasses two previous semi-professional efforts is due above all to David-Lloyd-Jones's dramatic pacing… The three key roles are well cast. Toby Spence admirably balances heroic and lyrical demands... James Rutherford as Sir Brian de Bois-Guilbert and Geraldine McGreevy as Rebecca combine to bring the most out of Act 2, Scene 3 - the opera's musical high point.”

The Guardian

11th March 2010

“Toby Spence is an impeccable Ivanhoe opposite Janice Watson's aristocratic, if effortful Rowena. But it's Geraldine McGreevy and James Rutherford, astonishing as Rebecca and Brian, who will really sweep you away.”

BBC Music Magazine

April 2010

*****

“We can at last hear what Sullivan conceived - and it's impressive...It deserves the first-rate performance it receives from David Lloyd Jones, a worthy stand-in for Hickox, working with an excellent cast.”

bbc.co.uk

Graham Rogers

9th February 2010

“From the lively pomp of the jousting scene, with its brilliant double chorus, to moments of exquisite tenderness and passion, to thrilling battles and powerful drama, this recording makes a compelling case for a monumental work that deserves a modern audience.”

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