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Some Customer Comments

Chris Webster, Proprietor
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{These first comments are mainly in connection with my latest releases — the Green Patience and Iolanthe, the four Pratt sets and the G&S For All series.}

Allan Kohrman I just finished listening to your Pirates. How could I have thought I would not want it? It was so good to hear Peter Pratt again. And your remastering is simply extraordinary. I am a CD collector and have listened to restorations by Marston, Obert-Thorn, and other luminaries. Yours is the best I've heard.

Robert Angus I've finally caught up with the transfers of the Martyn Green G&S sets you made for me—and I must tell you that despite all the kind words these have received on the Internet, I really didn't expect anything as terrific as I heard. This TBJ was one of the very first LPs I ever owned, and I was no more impressed by its superiority to the 78 rpms I had been listening to until then than I am with these transfers, compared to the ones I made myself from the aging LPs. Whichever of your Internet fans said that these transfers are a revelation understates the case. Well done!

Peter Watchorn (Founder and producer of the US classical music label, Musica Omnia — www.musicaomnia.com )

[The 57 Mikado and Pirates] arrived and you were right — they're simply breathtaking! In fact, [of Mikado] you've peformed some minor miracles with balance, especially woodwind. Especially impressive is the string playing in the overture of The Mikado — and Isidore Godfrey's conducting of the whole work — just couldn't be better. Pirates is no less impressive. ... Jean Hindmarsh is one of the greatest (and most underrated) G&S sopranos — ever. I think that her performance of "Poor Wand'ring One" is the best on disc. She has real coloratura technique — so essential for this piece. And Peter Pratt is fabulous. Hard to believe that he was not one of the most popular stars of the DC company. In the patter song, he outdoes everyone else, I think.

I have heard many re-masterings (including many of my favourite Decca ffss recordings of the '50's and '60's, which, I believe represent a real Golden Age), but yours are the best I've heard, without doubt. They sound warm, spacious and natural — like the LP's but better in detail and overall "bloom". Hearty congratulations — it's a real achievement. [later ...] I just finished listening to both The Mikado and Pirates under a set of Sennheiser 580 phones (the ones we use for all our editing and mastering) and I have to say that your work is really amazing.

Ross Sadler Thanks very much for the CD transfer of the Pirates. It is really well done and brings back the way my LPs were when they were new. In fact, I think that your transfers bring out the qualities in Peter Pratt's voice much better than the LPs. I thoroughly endorse David Steadman's remarks about everything (what an inspired simile about Jean Hindmarsh's voice). And I know Kenneth Sandford found the tessitura of the Sergeant of Police uncomfortably low, but I still think that he blitzes the present-day competition. No doubt many fans of the next D'Oyly Carte set would howl me down over this, but I never impressed by Brannigan.

(later) Thanks very much for the recordings that you recently sent me of Iolanthe and The Sorcerer. They were really great. Iolanthe was available here on quite a good Decca Viva LP transfer and so I had a fair idea of how good it would sound. Needless to say, your transfers didn't disappoint.

But The Sorcerer was a revelation. Having only heard the old highlights that used to be available here on LP, I was none too impressed. It's quite clear to me now though that it was the recording rather than the artists that was to blame. I did not think Peter Pratt was terribly good and as David Steadman implies, Godfrey was probably at fault for not having transposed some of the music down for him. But your transfers make it very clear that this is a very high standard performance indeed. (Whoever wrote that bit in the G&S Discography page about his diction being bad in the patter song, had obviously not had the benefit of your transfers either. Makes you wonder how many other musicians have been wrongly taken to task over the years). The others are also wonderful. I've always had a lot of respect for Fisher Morgan and this record really shows what he could have done. I've never heard Ann Drummond-Grant sound as good as she does in the Act II duet. So I've now sent off an order for the 50's Patience and Ruddigore as well as a replacement for my LP version of what I think is the best Mikado of all — the one from 1957. Look forward to receiving them.

Tony Gower I have just finished playing through the six Decca releases announced by Chris in his posting of 6 June. The 1950 Iolanthe and Patience recordings have been transferred with all the meticulous care we have come to expect as standard from Chris, and it was with enormous pleasure that I listened afresh to these familiar performances in a sparkling sound quality which was just not possible in the era of the LP. In spite of the considerable technical problems Chris encountered with Iolanthe, the finished CDs are nothing short of immaculate, and the wisdom of working from Decca's digital transfers taken direct from the master tapes is apparent. (This is not to say that Chris' earlier Decca releases taken from LPs are anything but miraculous, taking account of the relatively poor quality of some of the original recordings.) I always felt that the long-playing record was a medium which was never perfected, and complete freedom from surface noise, rumble and other imperfections is something to cherish.

The re-appearance of The Sorcerer of 1953 and the 1954 Princess Ida is particularly welcome. Not only are these both historic recordings, but there are too few other recordings available of either of these works. In my opinion they are both superior to the D'Oyly Carte recordings of about a decade later, which are still in the Decca catalogue.

As Chris has said, the 1957 recordings of The Pirates of Penzance and The Mikado are in a different class. Here is Decca's wonderful new stereo sound (for the first time in G&S) combined with stunning performances from some of the Company's best loved singers. These really are matchless performances and it is a great shame that they have been unavailable for so long. However, Chris has now put that right, and I for one feel I owe him a great debt of gratitude in persuading Decca to licence these recordings for re-issue now, rather than having to wait for 50 years to elapse.

Neal Carter-Lewis I cannot find enough words to express my admiration for the enormous achievement that you have reached. The recordings of the "Peter Pratt" era hit you with renewed force and fantastic ambiance. This is not to leave out the last two of the Martyn Green era, they round off a memorable cycle of performances, not least owed to the brilliance of the work you have done. Thank you for enriching my re-acquaintance with these artistes, their legacy has been richly fulfilled. The only sadness I have is that I am too young to have seen any of these ... Again, my thanks!

Stan German You, young man, are a national treasure. ... I am delighted to receive these recordings ... what wonderful things they are!

Iolanthe (51) It is every bit as beautiful and emotionally charged as I remember it. I am dying to know where the areas are that you consider flawed because I do not hear them. I am of the personal opinion that this may be Martyn Green's finest hour in the recording studio. And Ella Hallman's Fairy Queen remains my favorite even though there are several close contenders. My thanks for all your hard work on this project. It is such a joy!

The Mikado (57) This was my first recording of Mikado and even after losing my collection in a fire I replaced it on vinyl as soon as possible. I am therefore fascinated that you have improved the performance so drastically. It is all a delight, but the Act I Finale borders on being a religious experience!

The Pirates of Penzance (57) The note for The Mikado above applies here word for word.

Princess Ida (54) Again, this was my first contact with the score. Although your work with the overall sound is amazing, your ability to take the fish wife quality out of Ms. Sladen's performance is absolutely miraculous. How in hell did you do it?

The Sorcerer (53) Only a brief perusal so far, but it certainly lives up to your usual standards.

Jeremy Rose What can I say..?! You must get messages like this all the time, but suffice it to say that if, 10 years ago, someone had told me that I would have a virtually complete set of state-of-the-art CD transfers of D'Oyly Carte recordings dating from 1917 sitting on my shelves, I would have thought they were mad! It's a great service you provide, and all done with such obvious loving care.

The MG Patience and Iolanthe are certainly a case of saving the best 'til last, and the Sorcerer and Ida recordings are a wonderful revelation. Great to have the stereo Pirates and Mikado on CD at last. Peter Pratt is fast becoming my favourite G&S comedian! Anyway, I could (but won't) go on for hours.

Jeffrey Krebs I have listened to the '51 Iolanthe and the '57 Mikado. What a fabulous job you do! The Iolanthe is very, very good with a nice, clean sound. The Mikado is pristine — as good to my ear as anything ADD or DDD that I take out of a jewel case today! I can't wait to hear the Pirates recording. Thank you again for your dedicated work in producing such beautifully crafted CDs.

Paul Ensell ... currently ploughing pleasurably through Chris's new batch of CD's — most marvellous!

Robert Watson Wonderful!!!!

Andrew Ferguson My CD order arrived on Monday afternoon, and I want to say how pleased I am. Indeed, once again you've "waved your magic wand" with these transfers, and they sound wonderful!

David Roberts Bravo, Chris !! I received my CDs yesterday ('51 Patience & Iolanthe, '57 Mikado & Pirates). The latter were my first two G&S records and it's glorious to hear them again. What terrific casts ! ... I particularly am fond of Hindmarsh, and think she is unrivalled in these roles.... The sound is marvellous, and it's great to have them all back ! Many thanks !!

Alan Borthwick WONDERFUL CDs ... They really are excellent, Chris — and your work has to be commended. The sound comes up magnificently — particularly in Mikado and Pirates, two sets that have always been my all-time favourites. I can't imagine why Decca released the later Mikado when this one has Hindmarsh, Round and Adams. However, the main reason for having these sets is the magnificent conducting of Isidore Godfrey — the greatest G&S conductor ever ... Mackerras is superb — Stanford Robinson was excellent — Sargent was mixed — but Godfrey just knew exactly how to pace these works. And I quite like the rather rough "pit" sound on the earlier issues. Despite Sladen, the Godfrey Ida is a must!!! That Act 2 finale is perfection in pacing!!! I could go on (and on and on) but I'll stop now and rush back to listen again to Sorcerer — a gem of a performance!!! Keep up the good work, Chris. You've been invaluable to us G&S enthusiasts over the last few years.

Clifton Coles ... the CDs have arrived! They came on Friday, and they are excellent.

Des Wilson I decided to listen to the D'Oyly sets in chronological order and so far have heard Patience and Iolanthe. Wonderful transfers, and I'm so grateful.

Have [also] heard the G&SFA Trial and [Cox and] Box. What a superb artist Donald Adams was! I sometimes think that he would be my candidate for the greatest of all recorded G&S performers (and that's saying something!).

Mel Moratti Am reviewing here (for the record) the following two CD releases from Chris Webster's 'Sounds on CD'. VGS236 — The 1957 Pirates of Penzance and VGS237 — The 1957 The Mikado.

It was with much anticipation that I have been waiting the last few months. I have followed, with interest, the unfolding tale of Chris Webster and his dealing with the record companies over the acquisition of the tapes for the above releases. Having myself worked in the tape library of RCA in London I am quite familiar with the holdings of such an organisation. One of my jobs was cataloguing and it was with no end of amazement that I would discover rare unreleased takes, alternative versions, live versions and many odd tracks that never made it to CD because in the 1960/70s records only had 12 tracks, but others would be recorded just in case. Normally put out after the company lost the rights or the artist died. Elvis is a good example. In the days before computers all cataloguing was done onto a card index system (like they used to have in libraries). In RCA, alone, there were thousands and thousands of master, and sub master (copies from copies) tapes. A sub master is a generation down the track from the master so loses a little bit in quality. All "Best Of" LPs were compiled from masters onto a sub master ... and sometimes if the master couldn't be found (as sometimes happened) then the track was taken from another source (a sub master) so another generation is lost. Then we go to the lengthy process of making the final vinyl LP...but we won't go there.

I mention all this because it does take quite a bit of effort to actually locate the original source material from the record companies vaults and obtaining (and paying for) the rights. All before we even get to the editing process, etc. So good on Chris for persevering through all this and making these CDs available to us.

Those that may remember earlier reviews I have done of other Sounds on CD recordings will know that I try and do a comparison with any other company source (be it Pearl, Naxos or whoever). So far I have always been delighted with the SOCD releases and they always seem to put any opposition to shame.

I sometimes quibble a bit at the prices — especially here in New Zealand where we pay for a full price item what those in the UK would pay for a midprice — but as far as quality is concerned nothing so far has come close to the work done by Chris.

By comparisons this time I was extremely limited. Several years ago Decca issued a highlights from the 1957 Mikado — poorly edited and at 50 minutes not really the bargain it appeared to be. I did, at one stage, have LP copies of both recordings but they seem to have gone the way of go-karts and plastic table cloths! So a lot would depend on my ears.

Starting with The Mikado, I did a side by side comparison with the Decca CD. Surprisingly the sound on the Decca recording was pretty good — no hint of distortion but a bit compressed. The SOCD release opened it up and gave it an added bloom. This added much to some of inner wind orchestration ("Our great Mikado"). The Decca was a titch muffled, the SOCD was clean. Try as I might I could not make out the favouring of the left-hand channel (mentioned in the booklet as being on the original master tapes) on the Decca release — [maybe] Decca corrected it when they remastered it. Anyhow the SOCD has a very even spread throughout.

There are some, but not many, studio noises which can't be disguised, ... ([though] the ugly 'glip' between "Braid the raven" and "The sun whose rays" is no more) ... but I think these are more of a worry to Chris than the casual listener.

I am pretty safe in saying that this recording is probably one of the best G&S recordings...ever! A cast to die for! Listen to Thomas Round's most beautiful rendering of "Wand'ring minstrel" and the horrific crazy laugh of Donald Adams in "Humane Mikado". A must for everyone's collection.

The 1957 The Pirates of Penzance is another top-belt recording with many of the same artists. Their solos and duets are most delightful and it's great to have them available on CD at long last. ... The highlights must be the pairing of Thomas Round and Jean Hindmarsh as Frederic and Mabel ...

Chris has certainly retained all the qualities mentioned above with The Mikado. The orchestral detail is amazingly captured and the voices are nicely spread. The studio noises are still there in places but Chris has reduced these to a minimum.

Congratulations to Chris Webster for his amazing work on these recordings.

Richard Duployen Congratulations! You've done it again Chris! One is reminded what good and vivacious ensembles these two companies [DC and G&SFA] were! Muriel has a lovely warm voice as Aline. The point were the voices soar (Act l Finale: "Oh!Marvellous Illusion!" — Skitch followed by Griffiths) is just one memorable moment. Martyn Green 's old voice, humour, dignity and diction with a lot of effective parlando make him almost perfect as the Chancellor. Valerie shows there's a possible advantage recording a role one's played — Her Elsie is so well felt as well as sung.

Paul Casey The 54 Ida is wonderful. Pratt is excellent as Gama. The orchestra is outstanding. It is only "Minerva" that is slaughtered by Sladen. Her other numbers don't stand noticeably apart from the DC cast.

(later) The CD Review by Mel Moratti is rightly highly complimentary, both of the transfer and your work in pulling it off with professional expertise, and the quality of the performance. I have to agree. I think that the 57 Pirates and Mikado sets are so deserving of a higher star rating than Marc Shepherd awards them.

As for Godfrey, I think at times his conducting reveals the shear quality of Sullivan's compositions ... sometimes there are little things that just jump out at you in the orchestration and which sound so marvellous when Godfrey is conducting ... there are refrains in the music that only seem to emerge under his baton. Interestingly Godfrey doesn't choose to chunter through Ida, to give a false "lightness" to one of the less popular operas. He has a real appreciation for tempo, and allows the music to speak for itself.

Clifford Huffman The 1957 Mikado arrived here in the States safe and sound toward the beginning of this past week, and I've listened to it through two times, lost in admiration for (a) the performances and (b) your clean-as-a-whistle sound ... thanks again for a wonderful job!

Peter Denley I am presently wallowing in the riches of the latest batch. Of the complete sets, so far I have played the 57 Mikado and 51 Patience. I was amazed at the good sound of the latter, far better than my old Ace of Clubs. I played the Mikado on a long car journey through the Cotswolds yesterday, and your marvellous transfer makes it sound better than I have ever heard. It's a lovely performance and it lives in my mind after many playings in the past.

My lowest expectations were of the G&S For All series, and yet having played only Mikado and Pirates, they are a delight. The reduced sized orchestra bothers me not at all. It reminds me of the old DC when on tour in the provinces. More importantly some of the performances are classics. I rate Donald Adams' Mikado as even better here than on either of his complete sets. It represents most closely how I recall him performing the role towards the end of his time with DC, particularly the increasing groans of impatience with Katisha as she interrupts in their duet.

I'm sure G&S fans everywhere are enormously grateful to you for bestowing the results of your enthusiasm for our benefit ... in this way. I can't wait to get into the rest of the latest batch.

Robert Hills Once again your work has surpassed my every expectation. The latest batch of releases is absolutely wonderful. When recordings and performances are as much loved as I love the first Decca D'Oyly Carte series (having grown up with them), sometimes the memory is a bit better than the reality. However, with the latest set of transfers, as ever, it is like hearing the recordings and falling in love with them anew. Very many congratulations and very many thanks.

Andrew Beighton Like many others, I have been waiting eagerly for Chris' latest releases and I have been taking my time getting to know each in turn. As I have now listened to The Sorcerer a few times I thought I would share a few comments.

This is really just an excuse to sing Chris' praises. The man is a genius. The sound quality to this recording, like that of every SOCD release has to be heard to be believed. It is absolutely amazing and I would urge anyone who has not yet done so to place their order with Chris today. And not just for this recording but for the whole batch. I have become that used to the quality of SOCD releases that I now just assume that it will be wonderful and have told Chris on a number of occasions that it doesn't matter what he releases, I will always want it.

Anyway, on to the recording itself. This is an LP I have known and loved for many years, even though my copy was the fake stereo version with those stupid bells. I have always considered Pratt's recordings to show great subtlety and skill, and so I was not surprised to discover that the CD merely confirms this view. I think his performance here is quite wonderful, particularly as he had not performed the role on stage. Little moments (such as the end of the patter song where Pratt seems to crescendo to the final note in a way that suggests that Wells is getting carried away with excitement at his own bragging) add so much to his performance. And it is great to hear the Incantation sung throughout. (I don't mean to suggest that there is anything wrong with Reed's interpretation which I also love. It's just good to hear a different reading of the role.)

The rest of the cast are equally up to the mark. Jeffrey Skitch seems to add a wonderful sense of faded nobility to Dr Daly which I think makes his numbers very moving. Ann Drummond-Grant is wonderful and has that all-important ability to maintain very clear diction when singing patter in the lower register. Neville Griffiths has a fine voice, and of course it is great to hear Donald Adams in this early role.

Overall the recording is taken at a good tempo for my taste. I like a nice brisk pace and it pays off well here particularly in the first half of act one which can often drag, but here it plays along nicely and still makes the most of the lyrical nature which is being established.

... this is an amazing recording of an opera which I have always had a soft spot for. It was the second G&S I ever heard and for that reason alone I love it ... I am so grateful to Chris' for giving me the chance to hear this recording in all it's glory.

(later) I've just got around to Chris's G&S For All transfers and they have come as something of a revelation. They are not recordings I know well as I would usually prefer complete recordings, so even though I had heard that they contain some excellent characterisation particularly from Tom and Don, I was still taken aback.

But to begin with let me say that as usual from Chris we get a very high quality of sound which allows the performances to shine in a way that they never could on record. I know this because I went back to my LP collection and played part of Ruddigore to compare it.

Well, starting with Ruddigore I would have to say that I wish it were complete, for some of the performances here have quickly become my favourites. Tom's Dauntless is wonderful and despite his age at the time of recording I could be convinced that he was a young sailor here. "I shipped" is sung perfectly with just the right accent and character. Ann Hood came as a surprise as Margaret. I have always been a fan of Ann's and wish that she had recorded more of the soprano roles for DC so it is great to see how she would tackle the soubrette roles. I have to say that her voice does sound a little past it's prime but this is more than made up for with the maturity that she brings to her performance. And in my opinion she holds her own in the Matter Trio better than anyone else I've heard.

I've heard that some people are of the opinion that Cartier makes little attempt at characterisation, but I found his work as Robin to be very good indeed. In "My boy you can..." he seems to convey just the right sense of nobility as a baronet in exile and there are little touches and inflections throughout which make this a well thought out reading of the song. I loved it. Laurence Richard's performance as Despard is amazing. I particularly liked his opening number, in no small measure due to the quick tempo of the song which I think brings it to life. But here again there are some wonderful touches. For example, as he sings "my expression gets warped and destroyed" you can almost hear this happening in the voice. It isn't overdone, as can often be the case, but perfectly judged, as it is at the end when he sings' "we'll proceed" and you can hear the villain's lip cure. Absolutely wonderful.

And I've saved the best till last. Donald's performance of the Ghost's high noon. Brilliant. Over the top? Yes! But I've listened to so many recordings and wondered why it has been sung so straight. IMO the song needs to be over the top to match the OTT orchestration and Don certainly grabs the song by the neck and gives it all he's got. If for no other reason but this, buy these discs from Chris ASAP.

The Mikado recording left less of a mark on me, I think because there are so many good recordings out there and because I have only just finished listening to the 1957 D'O C recording (again from Chris) and that one is so brilliant. But the same can be said of Don here as well. If anything his reading of the Mikado's song is even more demonic in the G&SFA set. And that laugh!!! How did he do that year after year?

So on the whole a great set of discs that I would recommend highly.

John Hunter [Re 57 Pirates and Mikado sets] ... These are two of my favourite "best-ever" D'Oyly Carte recordings and my sincere thanks for reissuing them.

Roger Goodwin Thank you for your masterings of the complete G&S D'Oyly Carte sets from the 1951 Patience through to the 1957 Pirates. They were eagerly awaited and I was not disappointed with any of them! in fact "highly delighted!". What strikes me about the sound you have produced (I appreciate they are from Decca masters in the main) is the sharpness, forewardness and clarity, which in G&S is essential — all other CD versions don't have that.

Richard Newman (on a varied selection from the SOCD catalogue) The brief sampling that I've made so far exceeds any expectation that I could possibly have had. I'll give you more detailed comments when I've had a chance to listen but I never in my wildest dreams thought that these recordings could sound so wonderfully life-like and that's important to me as I never had the chance to hear the Carte during its 40's and 50's heyday. I have some of the original 78's — how you must have toiled — a real labour of love!! Bless you, Chris.

(later) Have spent a night listening and am really bowled over by your work. I sampled the 1950's recordings and the thing that really impressed me was not only the natural timbre of the voices (which added so very much to the interpretive element) and the sheer natural detail, but also the way in which you have managed to eliminate the notorious Decca "glare" which always seems to have been the sticking point with so many of their recordings over the years. Nobody else seems to have done this.

The 1950 Ruddigore is an absolute triumph. After having (stupidly) lent my Ace of Clubs set to somebody who (I realise now) had no intention of returning it, I acquired the 1962 set in mono format and it didn't compare. You have enabled me to hear detail and inflections that I would never have believed possible.

And to hear those inflections in Leonard's voice is a very special experience for me. Your transfers give it the natural warmth that it obviously had and show how much he lived the parts that he sang and acted. Note the absolutely natural and believable delivery of Dauntless's spoken lines in "My Boy...." He was truly a singing actor in the way that so many others are not. The great thing about the 40's and 50's Carte recordings is the way in which they really could duplicate their live performances in the studio and give a real sense of a theatre experience.

Above all, I listened to a large chunk of the 1928 Yeomen and it really sounds like a modern recording. The voices come into the room in a way that few other vocal transfers of recordings of this era have ever achieved. I can say that having possessed the original 78's. In particular, the chorus in "Here's Man of Jollity" distorted and blasted — but not in your transfer.

The thing that I really must thank you for, Chris, is the opportunity to hear so many fine performers of past years very much as I would have done from live performance. I can't thank you enough (after one day's listening) for that.

(later still) I am a hi-fi enthusiast and have a Class A transistor amplifier which is normally kept switched on as it has to reach a certain "cooking temperature" before it sounds at all reasonable. When I made [my earlier] comments ... the amp was in 1st or 2nd gear. By the weekend, it was singing and so were your transfers. I believe that you could teach the majority of engineers a very great deal about transferring vintage recordings

(and later still) Although my old amplifier is now immortalised in your notes, it has now gone the way of all flesh and been replaced (to my bank manager's disgust) but I listened a couple of times to the 1951 Patience and the quality of the recording staggered me. In particular, the inflections in Martyn Green's voice are caught to perfection.

Dan Florip (privately) I must say the CDs are absolutely wonderful. I've very impressed with Peter Pratt. It seems to me that his voice is a cross between Green's and Reed's. I'm so impressed with the 57 Mikado that I keep listening to it, and the others are not getting equal time! A splendid job all around. I shall be ordering the rest of the lot soon.

(To Savoynet) I wish to be the next to offer a glowing review for Chris Webster's latest work. Aside from saying that I feel each of the Peter Pratt recordings is in beautifully clear sound (especially the stereo Mikado and Pirates), I cannot comment on the technical side of these new releases, as I have never heard their LP versions, and therefore cannot make a comparison. However, knowing Chris's levels of quality and effort, I can only assume he's worked miracles once again in this department.

I'd like to throw in my two cents in reviewing the performances, and as it's been a busy summer, I can only at this time comment on the 1957 Mikado, as I haven't given the others more than "spot listenings" thus far.

Easily, this is the absolute best Mikado on record when one combines the quality of the performances with the advanced technology of stereo sound [he said, throwing a bone to the 1926 fans]. From the first few bars of the overture, I fell in love with the sound and acoustics. I was absolutely delighted with Godfrey's tempi throughout, which may be a touch on the quick side, but which amplify the sparkle of the score. A particular delight was the triangle throughout... just strong enough to be heard, but not overpowering.

And to the individual performers... Upon first hearing Peter Pratt in the 1959 Gondoliers radio broadcast and in the Royal Albert Hall video, I was not particularly looking forward to his four studio roles, but good heavens! It is as if he took pleasant-voice pills before entering the studio! I find him to be an extraordinary bridge between the measured tones of Martyn Green and the nasal and scratchy voice of John Reed. My only qualms are that Pratt doesn't quite hit many of his pitches just right, and often seems to race the orchestra (e.g., the List Song), but let that pass. His songs were targets of my "spot listenings" in all the sets, and I was quite pleased.

After purchasing the professional Nanki-Poos of Derek Oldham, Leonard Osborn, Richard Lewis, Phillip Potter, Colin Wright, Bonaventura Bottone, Anthony Rolfe Johnson, and the boys from 1917, what a blessing to finally hear a GOOD, SOLID performance of the role from Thomas Round! All I can say is that in my opinion he beats the others hands down. By far Round sings the best "Wand'ring Minstrel" I have heard, and his interactions with Jean Hindmarsh in the duet are priceless.

Not being a huge Kenneth Sandford fan to begin with, I must admit that I enjoy his younger Pooh-Bah more than the Pooh-Bahs he would record in 1966 (film) and 1973. Although not quite yet in his prime, his diction is far better and he doesn't blow air like a vacuum sweeper set to reverse, as he would in the 1970s. Ken's "tra-las" in "So Please You Sir" are very nice.

Alan Styler's Pish-Tush... MARVELLOUS. He seems to have grown vocally more into the role since his recording in 1950. What a pity that all of the operas didn't have "juvenile baritone" roles for him to record.

Donald Adams gives us a good performance in his first recording of the title role, but I must confess I'm more of a sucker for his recordings in 1965 (Phase 4) and 1992. I believe his laugh to be longer and more devilish in the later recordings. I don't believe his rendition of the Mikado's song to have changed much in 35 years, however. That laugh is generally good in any decade! How on earth did it not destroy his vocal chords?

Finally a Katisha that I adore! What is quite possibly my least favorite character in the entire canon comes to life for me through Ann Drummond-Grant! Perhaps all contraltos should be plucked from the ranks of the aging soprano population. I don't pretend to know much about the mechanics of singing, but Drummie's voice still has the quality and clearness of a good soprano while hitting the low notes that are usually left to the manly-sounding contralto (e.g., Gillian Knight). Drummie seems to sing the role with ease, with nothing forced.

Jean Hindmarsh sings a beautiful Yum-Yum, and I have a particular fondness for her rendition of "The Sun Whose Rays." All three of the little maids blend well together and are quite a delight. Beryl Dixon's singing and characterization in the Act I Finale are a joy.

Again, overall this recording is superb! Although I'm disappointed that John Reed wasn't involved, I feel that there's no room for him... I'd hate to lose Peter Pratt's Ko-Ko. However, I must confess that sometimes I think I can hear him in the chorus... so he's there in spirit.

Special thanks again to Chris Webster for allowing me to hear such wonderful blasts from the past. If you haven't ordered these recordings already, get on the stick!

Kevin Hewitt Simply wonderful reproduction. Congratulations.

Jim Griffin I received your CD's and have listened to them, but only now have I taken the time to really start listening to them. ... the sound was so good, so clear, I could hear orchestra parts that never appeared on the LP (57 Mikado). I would like to do a comparison between your disk and the LP (said he knowing that it will be like day and night). One of those little gimmicks one can pull off when visitors come — "listen to the difference!"

However — I have only had time to really listen to the G&S For All recordings of the Mikado and Ruddigore. We drove to Boston by car and listened to them on the car system — if they can stand up under these conditions this well they have to be excellent! One of my biggest regrets is that when G&S For All came to our area many years ago I was sick in bed with the flu. These disks help to make up for what I missed. "When the night wind howls" and the Mikado's song are alone worth the price of the disks and more! I don't know how you do it, but the quality of the sound is superb and is only matched by the voices. Thomas Round and Valerie Masterson have always been favourites! The only flaw is the chorus — it sounds rather weak and unrehearsed in places — their entries are occasionally a little ragged. There is nothing wrong with the sound quality — it is superb. These recordings are a joy and I'm so glad I got them.

Stan DeOrsey WOW, your package of CDs arrived today ... Fantastic (and I haven't heard them all yet).

Lawrence Devoe Received the sets this past weekend. Started listening and could not stop. The early stereo transfers of Mikado and Pirates are FABULOUS! It is a pity that they were not issued originally instead of the later issues which are simply not as good. The remaining earlier sets are improvements over the treasured LPs that I own. The remastering is simply spot on. Many thanks for rendering this repertory into a convenient, take anywhere format. Always found it challenging to play the LPs in my car!! Keep up the good work

L R Wallace I have really enjoyed the Peter Pratt Pirates — a magnificent performance in a vintage Kingsway Hall recording. [Also ...] I have very much enjoyed the Peter Pratt Mikado — your rebalancing of the channels has worked wonders, it really brings the performance alive.

Jim Griffin (A private note) Just a short note to say that the CDs arrived ... I am so impressed — I am blown away — it is like completely new recordings — I can hear things I never heard in all the years of listening to the LPs. Pirates first and then of course I had to listen to Donald Adams do the Mikado's song and "When the Night Wind Howls" and the trio from Mikado — "I Am so Proud". It is like standing beside them while they are singing — what a fantastic job you have done. I am looking forward to enjoying these disks time and again — the difference between the LP and your CD is like day and night!

(To Savoynet) I just spent a morning ... listening to the newly arrived CDs from Chris Webster ... what a treat. (Interesting how fast the post was for the CDs — sent on Tuesday from Britain — arrived in Canada on Friday!) My sister gave me the LPs of the Pirates recording way back in 1964 — but it is as if I never heard it before. The clarity — the depth of the sound — is fantastic. I have never heard CD sound so clear. There is so much more to the voices that I couldn't hear on the LP. From the beginning of the overture I knew I was in for a treat, like sitting in the front rows — magnificent!

I still have the Mikado to hear — (well not quite true — I jumped ahead to listen to Donald Adams do the Mikado's song and to listen to Kenneth Sandford in "So Please You Sir" and "I am so proud"). It is the same — on these songs I can hear so much more of their voices and the orchestra — it is like a completely new recording. The laugh is even more spectacular than ever! Very impressed with Sandford as the Sergeant and as Pooh-Bah.

If you haven't heard these recordings, do yourself a favour — they are impressive!

Mort Harman The [1950 Yeomen] arrived last Wednesday just as we were leaving for a few days.I am thrilled with it. You have done a great job. Martyn Green never sounded better. I will be back for more.

Paul Casey I took the 1973 UMGASS Grand Duke recording away with me on holiday last week. I listened to it quite a bit on my walkman, and was more attentive to it because I was listening through earphones.

OK, the 76 DC recording has a professional orchestra and cast, but the UMGASS recording is so much more vivid and entertaining. Eric Stern brings the music to life in a way that the DC recording fails to do. I have found myself humming refrains from this opera since my holiday, without realising they are from the Grand Duke. In fact a couple of times I have thought "where does that catchy tune come from?" Only to surprise myself that its from The Grand Duke!

After my holiday I thought, "I will revisit the DC recording, which will now jump into life, because of my new appreciation", but, I found myself bored by it. In fact it seemed like a different work. It lacks the enthusiasm or self belief of the UMGASS recording. It just goes to show that the success of a G&S opera rests as much in the performers as in the raw material of the author and composer.

Rev. Michael Burgess I want you to know how truly delighted I am with the CD's I received earlier in the week. Familiar as I am with the recordings (they are the ones I was brought up on) your remastering presents them in a completely new way. It's like listening to completely fresh performances! For example, it had never previously registered how incredibly smug Martyn Green is as Bunthorne, when he announces that "I've put myself up to be raffled for!" Your work on these discs — and on those previously issued — has brought me great pleasure. Thank you. I am today [ordering] the two 1957 recordings of Pirates and Mikado. I should be very grateful if you could get these off to me as quickly as you can, please, as I am going out of town [soon] and will be gone for an entire month. Of course, it would be sensible for me to delay ordering the CD's until I get back, but I am so anxious to hear them that I can't wait!!

Bill Love I first heard the 1950s recordings back in the early 70's when Decca rereleased them with an "enhanced" stereo sound. My initial reaction was not favourable especially the noise made by Osborn. Now that these recordings are becoming available again in CD format I am rapidly revising my ideas. Everything that Chris Webster has said about this singer I would now totally endorse — Osborn is a great G&S artiste. ... the 1950 DC [Yeomen] recording ... has been a revelation to me and now counts as one of my all time favourite recorded performances.

Frank McConnell I grew up with the '40s-'50s series, playing each probably hundreds of times on pretty good equipment for the period, and with Sorcerer and Ida, which I recieved from you a few weeks ago, I am once again astounded at the sound you have wrung out of these pieces. The orchestra in paticular produces outstanding accents that were inaudible on the originals. You've done a superb job and I know I join thousands of others in thanking you.

Joseph Woodland My brother Steve sent me the latest in your series of reissues, including the "Peter Pratt" series. Thanks so much for the love and care you lavished on these recordings. They sound great, and you have restored to me one of the formative influences of my childhood. Sorry to be so flowery about it, but these records have always meant a lot to me and I'm delighted to have them sounding so well.

John Sprengel I play Ruddigore every Halloween. I'm listening to the G&S For All Ruddigore and it's so exiting. I really favor the way these recordings were done and wish they had performed the operas complete. As everyone has said, Chris' work is top notch and the artwork on the CD covers is beautiful.

* * * *

{These next are mainly selections from the comments that I have received in relation to my 1950 DC reissues of Mikado, Ruddigore, Yeomen and Gondoliers}

Jim Drew I'm listening to Act I of Ruddigore now. The old recording has never sounded so good before. You are to be thanked as well as heartily congratulated for all you've done on these releases. Too bad all those buying the Pearl and Naxos releases haven't been told about yours!

Mel Moratti"A comparison between the Pearl and SOCD reissues of the 1950 D'Oyly Carte Ruddigore"

Having now managed to obtain both the Pearl recording of this work, as well as the Sounds on CD production, I decided to do a comparison.

Note that the Pearl Ruddigore is only available as part of a three CD set which also includes the 1950 Gondoliers. According to the producer the listener would appreciate their having the separate acts on different CDs — so Act Two of Ruddigore comes before Act One!! I found this very annoying. I would not have minded Act One being split onto the third disc.

Although both CDs offer quite extensive technical notes it is Jim Craig [of SOCD] who writes the more in-depth details regarding all the recording and transfer problems of the time.

To hear what sort of problems are faced by the producers one should start with the "Painted Emblems section from Act 2. Not only do the originals have fiendish distortion, especially with the timpani, but there are several editing 'joins' which must be ironed out. My respect for Chris Webster has increased ten fold here. Here his editing is a work of art and the hours he must have spent splicing bits together has given us a magnificent result. The whole sequence flows and is really spectacular.

When I first sat down to do the comparison I listened to the first six or seven numbers of the Pearl recording making notes and then listened to the same numbers again from the SOCD recording. The interesting thing was that I hardly wrote much while listening to the SOCD recording. From the outset of the Overture you will find that the Pearl version has been recorded flat. There is lots of middle and no bass or treble. On the SOCD version the separation is excellent. The bass really jumps out at you during the second verse of "Ghosts High Noon" in the Overture.

The Pearl recording did nothing to get rid of the annoying triangle in the opening chorus. I think the player must have raced up to the microphone each time he was on! Chris managed to send him to the back row where he belongs.

....

Distortion plagues the Pearl recording but is almost completely absent from the SOCD version.

One artist that really benefits from the SOCD recording is Ann Drummond-Grant (Mad Margaret) whose Act One scene is certainly one of the best recordings I have ever heard. In the Pearl version the Woodwind almost disappears. In the SOCD version it jumps out at you — one can now actually hear the bassoon!

This is one of the main advantages of the SOCD version in that it manages to do justice to the artists that would otherwise be overlooked. Take for example the "As pure and blameless peasant" section in the Finale to Act One. You can actually hear the change in Martyn Green's voice as he takes on his new role as the bad Baronet.

Anyhow its two thumbs up for the SOCD recording. With the Pearl its like receiving a visit from an old friend. With the SOCD recording its like receiving a visit from an old friend who has recently purchased some new clothes.

Mel Moratti"A comparison between the Naxos and SOCD reissues of the 1950 D'Oyly Carte Mikado"

I approached the first release of Naxos's G & S series with some excitement. Their recent transfers of Rachmaninov, Casals and the like have been excellent and the idea that they would strive for the same perfection with Gilbert and Sullivan had my hopes strongly motivated.

Alas, any hopes I had were dashed on first hearing. Being out of copyright anyone is now able to release these recordings which is great for the fans but disappointing if there is a lack of care in the mastering. Anyone who has read my previous reviews know my comments on the recent Pearl issues. To be brief the Naxos Mikado is no better than the Pearl except in price.

The comparisons are between the Sounds on CD release and all others — and there is no comparison!

Firstly for the non technical buff you will find that the Naxos recording played on a simple amplifier is flat with a extremely boxed in sound. There is no spread or depth. The oboe solo in the Overture sounds like it was recorded in another room. If you have a "simulated stereo" setting on your amplifier then the sound spread is improved. With the Sounds on CD recording there is spread on almost any setting you care to choose, even more so if using the "simulated stereo" button. I mention this only because most people just put a CD in their machines and press play.

The Sounds on CD release is clean with no hint of any pre-echo or distortion. The soloists are brightly lit and nicely forward. Because of the care Chris has taken in this transfer it does emphasise studio noise and other sounds but this is a minor quibble. Tape hiss is prominent in "Comes a train/Three little maids" and one or two other places but this is worse on the Naxos CD. For some idea of the cleanliness of the SOCD release sample the opening of the finale to Act 1. The cymbals are nicely positioned and even the full scale ensemble work is captured magnificently.

It is also nice to know who exactly is singing the role(s) of Go-To — mentioned by Chris but not by Naxos.

In short, the release to have is the one on the Sounds on CD label. There is so much care and love in the transfers that it is strange that the recording companies are not knocking down Chris's door to get him to work for them.

Tony Gower Following recent [Savoynet] postings about the reissues on CD of the 1949/1950 Decca recordings of H.M.S. Pinafore and The Mikado, I recently bought the Naxos version of The Mikado, to compare with the version from Sounds on CD issued a few months earlier. Whilst a very efficient job has been done by Naxos in removing surface noise and other extraneous pops, clicks, etc. inherent in the LP medium, the "restoration" engineers also seem to have removed all the sparkle and freshness which was characteristic of the wonderful new Decca ffrr (full frequency range recording) sound. There is really no comparison with the SOCD version which has been lovingly restored: all the subtle nuances of the original recorded sound have been preserved and many of the Decca "wobblies" have either been corrected or greatly improved. A must for any Savoy collection.

I feel that the whole Decca series up to 1959 is a very important part of Savoy history, featuring such legendary artists as Martyn Green, Peter Pratt, Leonard Osborn, Ella Halman and others whose recorded work is unavailable elsewhere. I can hardly wait for SOCD to come up with Patience, Iolanthe, The Sorcerer, Princess Ida, together with later versions of The Pirates of Penzance and The Mikado, just as soon as copyright restrictions permit.

Paul Ensell (SOCD wrote — After months of preparation my CD releases of the four 1950 Decca/D'Oyly Carte recordings are now ready and I think you will be thrilled with the performances and the transfers.)

PE replied — I sat down and listened to Ruddigore, Yeomen and Gondoliers yesterday afternoon .... in answer to Chris's comment above "I was." Don't believe me — buy them yourself — they're brilliant. These are recordings I recall from years ago on elderly relatives' turntables — they never sounded this good!

Stan German I never dreamed that the Martyn Green recordings could be this good. Keep up the good work and again, my heartiest congratulations!

Steve Woodland (Privately) Thank you again for your fine work. They sound great, and I especially love the packaging. Congratulations to all concerned.

(On Savoynet) I just wanted to make an unsolicited endorsement: I just received Chris's remasterings of Mikado, Ruddigore, Yeomen and Gondoliers. They are just wonderful, not only for the remastering, but in presentation as well. Run, do not walk in order to get these sets. .... Wonderful!!!!!!

Sandy Rovner ....I have also just received the four Martyn Green/Darrell Fancourt CDs from the 1950 recordings of Ruddigore (sensational), Gondoliers (likewise), Yeomen of the Guard (even better ....) and Mikado which I have not yet heard. Way to go Chris! Get them whilst he still has them

Jeremy Rose I have just finished listening to the CDs you sent me — twice, as a matter of fact — once for pure nostalgia and once more with a slightly more critical ear. What can I say? .... the transfers are amazing! Notes and artwork are exemplary (I love the caricature of Isidore Godfrey!) and the whole enterprise has quite obviously been undertaken with such care and affection.

Philip Sternenberg I have now listened all the way through to Chris's Mikado and Gondoliers, and he has done an excellent job. If you liked his Trial, Pinafore, and Pirates, you should like these even better. One nice touch that I don't believe he has yet mentioned is that he has removed the awkward pauses, such as the one following "For the merriest fellows," that I believe represented breaks between 45 or 78 sides. Even the maligned Leonard Osborn should gain more respect from his listeners, particularly as Marco.

Lawrence Devoe Received the CDs yesterday. Sound of the first one I listened to (Mikado) is incredible.

Chris Browne Congratulations on the discs and presentation which are really excellent

Kevin Hewitt (First comment) Am listening to the YG production. Delightful transfer. (later) I have enjoyed the four CDs ...... several times.

Laurence Leng I have now got round to playing all 4 of the Decca sets and all I can say is "WOW!" They are great — the quality of the copies makes them sound so vibrant and alive. I was so interested in the review you sent me of [Mel Moratti's] comparison between your Pinafore and Pearl's so I got the Pearl's Mikado and Yeomen. I could not believe the difference — the Pearl set sounds so dull and lacking of feeling it's unbelievable. So, well done.

Henry Sherr I just received the CDs from Chris and have to tell every one of the superior transfer quality. It is like hearing the operas for the first time and I grew up with these recordings. They are clean and bright with no noise with wonderful fidelity. Any one who loves G&S should get the CDs.

Jay Kaufman Listening to the Mikado now and I gotta tell ya' it sounds just wonderful. The Ruddigore sounded really good too. Can't wait to hear the others.

Marcia Menter You've done a fabulous job with these CD transfers. I think they sound better than my old Richmond LPs. So I'd like to order another set for a friend.

Neal Carter [On 1st order — Mikado and Yeomen] I must congratulate you on the superb quality. It was such a pleasure to reacquaint myself with these recordings and especially without the historic noises! Again my thanks and just WOW!

[On 2nd order — Gondoliers and Ruddigore] The last issues received were a revelation. It is so good to hear these artists in as near sound quality as they would have wished to be heard. It is an amazing treat. My hat off to you!

Stephen Jones I received the Yeomen and Mikado recordings yesterday. The Mikado sounded great; I haven't had a chance to listen to Yeomen yet.

Michael Burgess Thank you for your speedy attention to my order. I mailed my request on June 4, and received the discs on the other side of the Atlantic on June 13 — that's real service! Thank you very much indeed; I'm impressed! I am delighted to have these recordings — they are the versions I grew up with, and it's wonderful to have them available in better-than-ever sound. You have done a superb job in making them available on CD.

David Wheeler The sound is great — can't express why, but those post-war recordings have something that others don't.

David Roberts I got the CDs yesterday .... and listened to Gondoliers last night. It's GREAT !! The sound is so clean!!

Des Wilson The parcel arrived on Monday and I started with The Mikado. Have been rather busy this week so only today have had the chance to do some more listening. A few minutes ago I finished listening to Yeomen and just have to let you know how thrilled I am. I started with Mikado and Yeomen because, for some reason, I never caught up with any of the re-issues of these sets, so know them only from the original LK versions. These I have been listening to for well over 40 years so I think I can say I know them pretty well. Like so many others I've been waiting for the day when they would re-appear on CD, but I never dreamed that when they did they would sound so absolutely superb. Chris, you have worked wonders with this material. I like to think I might just have some idea how many hours you've put into this project — all I can say that all those hours of work have paid off really handsomely. I have a strong interest in re-issue material (G & S is only a small part of it), and I have to say that these are amongst the very best restorations I've ever heard. The clarity and amount of detail is quite astonishing, and I've heard things I've never heard before. What particularly struck me listening to Yeomen this evening was the choral singing — now so bright and forward, rather than dimly recessed as on the LP's. .... I could rave on all night, Chris, but will leave it at that.

Roger Goodwin I have just received the acoustic Ida today and I am highly delighted with the sound quality, superb booklet and pictures and overall professional and expert production values. Please find attached my order for most of your catalogue. [Mr Goodwin ordered a further 20 titles!!]

Joyce Wright (yes, the Joyce Wright) How fortunate we are to have someone like you, who enjoys hearing these recordings and are willing to share that enjoyment with others. Bless you for the wonderful, brilliant work you do ....

{These next are mainly comments that I started to collate after I issued the 1949 Trial, Pirates and Pinafore recordings — there were lots more initially but I stopped collating them after a while because they were all in the same direction and I was short of time. A few are comments that I have received recently.}

David Wheeler Thanks for the CD's that were waiting for me when I returned home. They are really excellent and you have done a great service to G&S fans here. The sleeve notes are interesting, and the covers look ideal .... — roll on next year for the next batch to be ready.

Henry Sherr Thank you for the speed sending the "49" Pinafore and Pirates .... The quality is superb. I love them. .... Please do more with Martyn Green.

Tully Potter (Editor, Classic Record Collector (formerly ICRC), (Winter 2000, p99)) Both Pearl and Sounds on CD use LPs as their source ... The palm goes to Chris Webster who ... produces the clearer transfers ...

Paul Howarth The recordings are a most welcome addition to my library of D'Oyly Carte recordings spanning the years — a collection which would be nothing like as complete without your sterling efforts. (If I haven't said anything about the quality of the transfers it is simply because the sound is every bit as good as I expected.)

Tony Gower Many thanks for sending the 1949 Deccas. Wonderful transcriptions — I am so pleased to hear these superb recordings again and look forward to the next batch.

Christopher Naylor Many thanks for the CD's I received today. I have played the 1949 Decca Pinafore and Pirates plus Trial. I have, for some time, hoped that someone would reissue the 1949/50's Decca recordings on CD as I felt that, despite certain shortcomings, they would sound rather well. I must say that having heard Pinafore, Pirates and Trial I was astounded at just how well they sound. ... Do you intend to put the whole 50's mono series on to CD? I do hope so. Meanwhile my congratulations on superb reissues of these wonderful performances.

Jay Kauffman .... the Pinafore and Pirates I just received from you sound great and brought back some wonderful memories — these were the first G and S recordings I ever heard via the Richmond reissues of the 60s. Can't wait for the rest thanks so much.

Paul Ensell A big "thank you" for the work you have done in making the old D'Oyly Carte recordings available again .... You have made it possible for a collector such as I who value the place of the old D'OC in maintaining the tradition of performing the works of G & S to assemble such a collection. Your work is of immeasurable value to those of us interested in the performing tradition of the D'OC so do please continue with your re-issues of the acoustic. electrical and, [as] they come out of copyright, the early Decca sets.

Lindsay Wallace I have just finished listening to the 1949 Pinafore and Pirates/Trial. I feel I must write and congratulate you on these excellent issues. The sound quality and documentation exceeds what most of the commercial "historical" CD producers are doing. Well done again. I look forward to the next issues!"

Neil Forsyth (a more recent comment — as you will read Mr Forsyth also bought my 1928 Yeomen set reissued under licence from EMI's masters)

The 1949 H.M.S. Pinafore remastering is wonderful — a really full, clean sound that brought back some happy memories of recordings I grew up with. But the most amazing revelation was the 1928 Yeomen — remastered to a level I wouldn't have believed possible. It's so clear and vibrant, it's like having the singers in my living room!

Laurence Leng Just a quick line to say that I have finally got round to listening to your latest Decca releases. As always, excellent transfers and presentation — thanks.

Mel Moratti "A comparison between the Pearl and SOCD reissues of the 1949 D'Oyly Carte HMS Pinafore"

A copy has now come my way of the 'Pearl' release of the 1949 H.M.S. Pinafore. .... This was a good opportunity to give these CDs the blind-fold test. Calling them CD 1 & 2, I jumped between both. I started with the Overture .... there was a nice warmth to the oboe solo on CD1 which just wasn't there on CD 2.

Interestingly between the Overture and the opening number CD 1 had silence while CD 2 retained the low frequency surface noise. This also happened later in the CDs.

.... it was obvious that CD 1 was producing a very different sound to CD 2. By the time Ella Halman makes her first appearance I was listening to two completely different recordings. ....

CD 1 was the "Sounds on CD" recording. CD 2 was the"Pearl".

The SOCD recording made the soloists shine — they had a vibrant round sound that filled the room. The Pearl recording found them recessed.

I found no fault with the solo recording on the SOCD disc — this certainly brought them out far brighter than I could ever imagine. "Hail men o'wars men" just sends shivers down the spine. The best way to sample the two recordings is the "My pain and my distress" sequence. The SOCD was as near to perfection you could wish for while the solo voices on the Pearl disc kept breaking up.

While I am not intending to review these performances from a musical aspect, listening to these CDs again made me appreciate just how good some of the soloists were. Darrell Fancourt is striking as Dick Deadeye, Ella Halman is a superb Buttercup and Joan Gillingham is a prim and proper Hebe.

.... if I had to choose one it would be the "Sounds on CD" recording with its full-bodied sound and some crafty editing.

* * * *

{Next are amongst the first comments I ever received, together with some more recently received comments from new customers and relate mainly to my transfers of the acoustic Patience and Pinafore recordings. After these, and with each new release, many similar comments came through but because of time I didn't start to collate any more until last year when I reissued the 1949 Decca recordings}

Jim Lockwood (on H.M.S. Pinafore) It never ceases to amaze me how much music can be pulled out of these old acoustic records. Chris has managed to produce what I believe is the finest restoration of an early D'Oyly Carte recording yet to be done. He has achieved a perfect equalization, giving all the voices a natural, open sound, while achieving an extremely low noise floor. Even with his obviously excellent material, this is no easy feat. I highly recommend this CD.

Sara Kane Thanks again for your devotion to this wonderful project.

Stan DeOrsey I saved your CDs (Pinafore and Mikado soundtrack) for Christmas, but I have now played them and find them both most enjoyable. Again, thank you for your excellent restoration work. They certainly have an old style tone to them but they give me the feeling of being closer to the productions from the 20's and I appreciate the enjoyment your work brings to me and I am sure others. I continue to hope for many more.

David Duffey (On ordering Pinafore etc. after Patience) If what you have on offer is only half as good as the Patience, it would be still worth twice the price.

(After receiving Pinafore) What a Pinafore! The quality you have achieved is superb.

John Apicella Congratulations on a wonderful gift to G&S lovers everywhere. To finally hear this historic recording on CD in such a lovingly mastered version is a magnificent treat. I wish you great success on this release and on your plans for future disks.

Stephen Turnbull (from his review of Patience published in the Sir Arthur Sullivan Society's Newsletter) ....the transfers here are extremely well done. The set also benefits from a very informative sleevenote by our member Michael Walters dealing with the making of the recording and the idiosyncrasies of casting .... this disc is well worth buying.

Drew Buddie Got the CD today — it's superb and the effort you have made has proven most worthwhile. I wish you luck in producing more.

Barrie Wilson I immensely enjoyed Patience .... and echo all the customer comments about this outstanding CD.

John Gough I was very pleased with the Patience CD .... you have certainly found a dimension to the recordings under all the hiss and crackle.

Larry Byler Thanks so much for the hard work and for making this material available.

Chris Wain Just to say that the CD has reached me and I enjoyed listening to it! Thanks. Looking forward to the next one!

Alan Borthwick Congratulations on the superb quality of these releases. I really revelled in the two Merrie England recordings — especially the later one!! What verve and pace!! And what a lovely (under-rated) work!! I bought your Patience some months ago and was also thrilled with the quality.

Peter Parker (from his review of Patience published in "The G&S News") The quality is quite remarkable .... [it] has to be heard to be believed. This is almost the first time that one has heard the instrumentalists clearly other than the brass. The voices come over remarkably well.

Adrian Bridgman Many thanks for the Pinafore CD which arrived yesterday. I have played it twice and it's lovely to hear the recording properly. Your CD restoration is excellent and Matt Bland's artwork is stunning.

Stanley German The Patience recording arrived last night. I am nothing less than delighted with it. Congratulations on a superb job and I now await your future projects with rabid enthusiasm.

(later) I just wanted to send a quick note to let you know how much I enjoyed my first listening to the Merrie England CD's last night. I think my enjoyment can only increase with repeated playings.

Chris Thomas I enjoyed Patience so much that I would like to order Pinafore please — and that by return of post — that's how much I need to hear Pinafore.

Tully Potter (Editor, International Classical Record Collector, (Autumn 1999, p6)) Vocal gems .... Well produced CDRs of acoustic HMV Gilbert and Sullivan recordings, in excellent sound ....

R E Gower My husband was delighted to receive Patience for Xmas and thought it excellent.

Andrew Merton The acoustic recording of Patience was a real pleasure to listen to. I am sure that [Pinafore] will give me equal enjoyment. Many thanks for your labour of love.

Ian Hay The Patience restoration is splendid and much enjoyed.

Diana Burleigh Congratulations on the result of your efforts. I am also fascinated by the degree of research and scholarship which has gone into producing this and by Michael's notes.

Professor Roger Morgan Congratulations on the superb Patience CD.

Marc Shepherd (From his Patience review for Savoynet) If you heard the original discs, you might conclude that the surface noise makes the recording nearly unlistenable .... but modern technology can remove much of the background noise on these recordings. For Chris, this has entailed a large investment of time and money, but most people I queried agree that it is well worth it. These are the quietest transfers of a recording from this period that I have ever heard.

(comments on second order) I'm making my way through the latest batch of CDs. Mikado [the 1938 film soundtrack] was excellent; I am near the end of Pinafore, which is a superb restoration — very clean.

John Wise (This is a recently received comment about the 1920 Yeomen) I've just about got to the end of the acoustic Yeomen and .... the pleasure in listening to what's on it is tremendous. As I've said before, there is an amazing realism about the performances — it's not just something coming down from the past, they are actually living.