Gilbert & Sullivan: A Musical Celebration (Opera Australia), at Regent Theatre

Melodic, witty, satiric and joyfully absurd, dramatist W.S. Gilbert and composer Arthur Sullivan collaborated on 14 comic operas between 1871 and 1896.

Among the best known are H.M.S. Pinafore, The Pirates of Penzance and The Mikado.

Music from these, I am pleased to say, was prominent in Opera Australia’s glorious celebration. 

Gilbert and Sullivan pioneered and perfected the patter song, highlighted by highly rhythmic, tongue twisting, rapid-fire lyrics.

That was on show in the two-hour (plus interval) extravaganza that I relished.

Eight of Opera Australia’s finest performers combined with Orchestra Victoria, conducted by the talented, expressive Chad Kelly, notable for his flourishes. 

The overtures to begin each Act, Iolanthe and Yeoman of the Guard, set the tone brilliantly.

And then entered the headliners, including the ever-popular soprano Antoinette Halloran and the lauded Ben Mingay.

Alongside them, resplendent in beautiful gowns, were American-born soprano Danielle Bavli, fellow soprano Cathy-Di Zhang and mezzo-soprano Ruth Strutt. 

So too Scottish-born tenor John Longmuir, fellow tenor Alexander Lewis and baritone Leon Vitogiannis, each wearing a tuxedo.

So began the merry dance with a medley, tunes from The Gondoliers, Ruddigore, H.M.S Pinafore and The Pirates of Penzance in Act I.

After interval, it was Utopia Ltd., The Mikado, more from The Gondoliers, The Pirates of Penzance, Iolanthe, Ruddigore and H.M.S. Pinafore.

There was even a special piece, The Lost Chord, which Sullivan composed by his brother Fred’s bedside during the latter’s last illness.

On this occasion, it featured the Regent Theatre’s spectacular grand Wurlitzer organ.

During the performance, the artistes not only engaged us with their superb singing voices, but with G&S stories, as they offered up tantalising titbits. 

Complete with stunning arias, they harmonised magnificently, playing up the slapstick in several numbers.

Against a majestic backdrop, Orchestra Victoria was on stage throughout.

Positioned in front of the traditional Regent Theatre stalls’ seating were a series of small, round, café style tables and chairs.

At one point, with fan in hand, one of the eight singers serenaded those lucky enough to score those special seats. It was a nice touch.

With music resonating and voices soaring, I was thoroughly enchanted by Opera Australia’s Gilbert & Sullivan: A Musical Celebration.

Complete with attractive lighting and sound design by Alex Lynn and Shelly Lee respectively, director Stuart Maunder AM produced a captivating program of riotous entertainment. 

I am delighted that 150 years on Gilbert and Sullivan’s highly attractive craftsmanship and durability shows no signs of abating.