Reviewing recent new recordings and reissues of The Mikado, I have regretted the continuing absence from the catalogue of what I and others still consider the best recording of the work. Well, here it is at last! Sensibly combined with the Iolanthe highlights that likewise resulted from Sadler's Wells Theatre's burst of enthusiasm for G&S following the expiry of Gilbert's copyright, it makes a remarkable bargain.
At the core of the performances are some of the finest British singers of 30 years ago, all of whom were chosen not just for their singing but for their sense of the theatricality and humour of Gilbert and Sullivan. Just listen, for instance, to how John Heddle Nash gives full expression to every word of Pish-Tush's ''Our great Mikado''. In both works Denis Dowling, as Pooh-Bah and Mountarat, is a tower of strength, as is Patricia Kern as Pitti-Sing and Iolanthe. Here, too, is Marion Studholme's delicious Yum-Yum and Elizabeth Harwood's joyous Phyllis. If one singles out Clive Revill for special mention, it is because his Ko-Ko is uniquely well-judged and imaginative, combining superb comic timing, verbal clarity and vocal dexterity. His ''little list'' is hilarious, and one can almost feel one's hand gripped at the words ''shake hands with you like that''.
At the helm in both works is Alexander Faris, who was equally at home in the pit at Sadler's Wells or the West End theatre, and, whether in Sullivan or Offenbach, knew supremely well how to capture the lightness and sparkle of operetta. ''Now please you sirs'', for instance, goes like a dream. The new Overture put together for The Mikado by Stephen Dodgson may come as a surprise, but it is apt and cleverly done. The sound is inevitably dated when compared to more recent recordings, but it scarcely mars the enjoyment. Who could fail to be captivated by these performances?'