The Gondoliers

This was the first G & S opera in which I performed almost 50 years ago and so it brings back many happy memories.  Gilbert is said to have written to his partner after the first night claiming that “this magnificent work” gave him a “chance of shining right through the 20th century”. Sullivan replied that Gilbert’s wit and plot, another with his favourite theme of mix-ups with babies, had something to do with the opera’s success but the end result with some of Sullivan’s best tunes means that a quarter of the way through the 21st, it’s still shining. 

It has the most music of any of the G & S repertoire, even more than “Princess Ida” which extends to three acts, and it was a joy to hear it all again, especially with the wonderful orchestrations by the late Jim Newby, an M.D. with whom I worked for many years.  The 14-piece orchestra (should have been 15 but one of the violin players was ill) gave excellent support to all those on stage.   

As the gondoliers, republican in belief but faced with the prospect that one of them is to be a king, Leon Waksberg (Marco) and Stephen Mohun (Guiseppe) worked well together and their respective solos (“Take a pair of sparkling eyes” and “Rising early in the morning”) were also well delivered.  The roles of their recently-acquired wives, Gianetta and Tessa, were in the very capable hands of Carol Parkinson and Philippa Johnstone respectively and, again, both made the most of their opportunities for solo work (“Kind sir, you cannot have the heart” and “When a merry maiden marries”).

An apparently happy state of affairs is spoiled by the arrival of the Plaza-Toros with news that one of the gondoliers was married to their daughter, Casilda when both were in their infancy. The trouble is that they don’t know which it is and so one is now unintentionally a bigamist. Malcolm Parkinson gave an amusing performance as the Duke of Plaza-Toro as he seeks to sort out the problem, whilst Liz Blount gave him good support as the Duchess.  A further complication is that daughter Casilda, married to the future king, whoever it is, is really in love with Luiz, the impoverished Duke’s attendant and all that remains of his court. Rowena Thornton’s superb singing voice was more than equal to the demands of the former role and her portrayal as the future queen had some amusing moments.  Edwin Kirkwood handled the part of Luiz and his duets with Casilda with confidence.  Trying to resolve the question of the royal succession is Don Alhambra del Bolero, the Grand Inquisitor, or in current times perhaps the Director of the Security Vetting Agency.  David Parker is an experienced G & S performer and showed all his skill, not only with his fine singing voice but also in the delivery of his dialogue, each word given great meaning, especially when it came to mention of members of the opposite sex, all of whom seemed to have taken his eye. It was amusing that, here in the birthplace of the material, one of his songs had a reference to “the price of shoddy”. Finally, all ends happily when Stephanie Roe, President of the Society and on stage as Inez, the king’s supposed foster-mother, reveals that the true heir to the throne is in fact her own son, who turns out to be Luiz and so Casilda and the two gondoliers all find themselves with the partners of their choice.  

The score contains a number of quartets and quintets and the way in which these were performed with great expertise provided some of the highlights of the production. Other features of this opera are the lengthy opening and closing to the first act and the19 members of the animated chorus were given plenty of movement in these.  Some had a few solo lines which were all handled confidently; David Hall, who also directed the production, sang well as Antonio. The venue has quite a small stage but the playing area was extended with the use of space at the sides so that the whole picture never seemed crowded. Costumes were colourful and attractive, especially after the men’s change for the second act for a move to Barataria.

I have been a NODA Rep since 2012 but I think this is the first time I have been invited to a G & S opera and, even now, it was as a last-minute Lord-High substitute for Kirstie Turnbull who had an equally last-minute alternative engagement. However it came about, I am grateful for the opportunity to experience such an excellent production, with a superb orchestra and singers whose voices did not need to be supported by further amplification so as to be heard. I am sure Gilbert (and Sullivan) would have approved.                    

    

        

 

 

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