The Mikado by Gilbert and Sullivan: A Timeless Opera with a Dash of Quirkiness
Let's talk about The Mikado, the 1966 UK release that’s got more charm than your grandma’s tea set. This Wing Records and Fontana joint is pure opera gold, blending Gilbert’s razor-sharp wit with Sullivan’s lush, sweeping melodies. It’s like they took all the best bits of classical music, threw in some sass, and said, “Here ya go!” The cast? Stellar. You’ve got John Camburn on baritone vocals giving you those rich, velvety tones, while Madge Stephens’ soprano voice floats around like a butterfly sipping nectar. And let’s not forget Johnny Gregory at the conductor’s helm—this guy knows how to keep things tight.
Now, if I had to pick two tracks that stuck with me, it’d be “A Wand’ring Minstrel I” and “I’ve Got A Little List.”
First up, “A Wand’ring Minstrel I.” Oh man, this one hits different. Nicholas Curtis’ tenor vocals are smooth as butter, but there’s an edge to them—a kind of cheeky confidence that makes you sit up straight. The melody bounces along like a happy puppy, tail wagging furiously, and before you know it, you’re humming along too. There’s just something so timeless about the way it captures wanderlust without ever leaving your armchair. Classic Sullivan magic right here.
Then there’s “I’ve Got A Little List,” which honestly feels like Gilbert was trolling everyone back in the day. Eric Wilson-Hyde brings this bass-heavy swagger to the track, listing off people who “never would be missed” with such deadpan delivery that you can’t help but laugh. Like, seriously, who DOESN’T love a good satirical roast disguised as highbrow art? Every time I hear it, I imagine Gilbert smirking behind his quill pen, jotting down lines that still feel oddly relevant today. (Looking at you, Karen from HR.)
What really sells this album though is the energy. Whether it’s Enid Heard’s mezzo-soprano adding depth to duets or The Michael Sammes Singers bringing their choral A-game, every moment feels alive. Even the overture kicks things off with enough pomp and circumstance to make you feel like royalty for 45 minutes.
But here’s the kicker—the whole thing ends with “For He’s Gone And Married Yum-Yum,” and suddenly you realize…this isn’t just some dusty old opera. It’s a comedy wrapped in a tragedy wrapped in absurdity. And honestly? That’s life, isn’t it?
So yeah, The Mikado might have been released in 1966, but it doesn’t feel dated. If anything, it’s proof that great storytelling never goes out of style—even when it involves executioners, ridiculous names, and songs about bird-brained romance. Now excuse me while I add “Tit Willow” to my playlist for the hundredth time.
