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Title: Hidden treasures - Gilbert & Sullivan - Trial by Jury (1875) - "A nice dilemma" (Mackerras) View count: 358 Rating: 4.8 (5 ratings) Description: Painting: "Alexander II with His Retinue in the Arsenal Hall of the Gatchina Palace" by Mikhail Zichi. History: The creation of "Trial by Jury", the second opera the genesis of which brought Gilbert and Sullivan together, started in 1868, when Gilbert wrote a single-page illustrated comic piece for the magazine "Fun" entitled "Trial by Jury: an operetta". It detailed a "breach of promise" trial going awry, in the process spoofing the law, lawyers and the legal system. In 1873, Gilbert arranged with the opera manager and composer, Carl Rosa, to expand the piece into a one-act libretto. However, due to the untimely passing of his wife, Rosa dropped the project. Gilbert then offered the libretto to the impresario D'Oyly Carte, but Carte knew of no composer available to set it to music. Only in early 1875, when Carte found himself in need of a short opera to be played as an afterpiece to Offenbach's "La Perichole, had the impresario suggested to Gilbert that Sullivan was the man to write the music for "Trial". The one-act opera, however, proved even more popular than "La Perichole", becoming an unexpected hit: "Trial by Jury" drew crowds and continued to run even after "La Perichole" closed. "Trial by Jury" soon became the most desirable supporting piece for any London production. Narrative: Gilbert's ever absurd plot concerns Angelina (soprano), the plaintiff, who sues Edwin (tenor) for damages because he broke his promise to marry her (she even arranges for a full chorus of bridesmaids and appears in a wedding dress to persuade the court of her loss). The would-be groom tries to convince the Jury he would be a worthless husband. The learned Judge (baritone), however, falls in love at first sight with Angelina whom he promptly marries in the end. Thus, unlike the much more sentimental and human "Pinafore" and "Pirates", is a pure farse in which there are no romantic leads and no real love. Music: While the whole score is a glorious romp through contemporary courts, one number in particular is worthy of special mention: the climatic sextet for the whole cast, as all, even the Judge, contemplate the possible solution to Angelina's plaint, provoking a wonderful parody of the Italian "dilemma" ensembles, of which Donizetti's "Chi mi frena in tal momento" is a prime example. However, the main "inspiration" behind the number is Bellini's unfailingly romantic "D'un pensiero" from "La sonnambula": Sullivan uses practically the same dominant rhythm, key and vocal distribution, while sufficiently varying the melody to allow the piece to stand on its own. The parody, however, is not limited to the melodic writing: the basses, rather than the soprano, first state the main theme; the soprano and the tenor, though complementing each other, as per tradition, through the music; while the final measures of the pieces are occupied by a suitably grand ensemble of the chorus and the soloists. A wonderfully gentle play on traditional belcanto virtues. Recording: Yet again, Mackerras' 1995 Telarc recording (coupled with an excellent version of "The Yeomen of the Guard") is virtually unrivaled: the Orchestra and Chorus of the Welsh National Opera provide the usual strong support to a charming cast, featuring some of the singers we have already encountered in the previous recordings (especially the lovely Rebecca Evans). The Learned Judge - Richard Suart, Angelina, the plaintiff - Rebecca Evans, Edwin, the defendant - Barry Banks, Counsel for the Plaintiff (baritone) - Peter Savidge, Usher (baritone) - Eric Garrett, Foreman of the Jury (bass) - Gareth Rhys-Davies. Hope you'll enjoy :)! Tags: belcanto, coloratura, classical, savoy, opera, Author: LindoroRossini |
