Gilbert and Sullivan - The Yeomen of the Guard - Act Two (BBC, 1989)

Recorded off-air from BBC Radio 2 on 26 November 1989 at 14.00
Sir Richard: John Heddle Nash
Col Fairfax: Philip Langridge
Sgt Meryll: Eric Shilling
Leonard Meryll: Neil Jenkins
Jack Point: Derek Hammond-Stroud
Wilfred Shadbolt: Forbes Robinson
Elsie Maynard: Valerie Masterson
Phoebe: Sally Burgess
Dame Carruthers: Anne Collins
Kate: Sandra Dugdale
First yeoman: Michael Wakeham
Second yeoman: Leslie Fyson
Ambrosian Singers, chorusmaster John McCarthy
BBC Concert Orchestra, conductor Sir Charles Mackerras.
Producer Robert Bowman
Series producer Tim McDonald

[@richardallen3810]

I am always in tears upon the end as Jack collapses upon realizing Elsie's love for Fairfax. Reprising the Merrymans song , so poignant, heartbreaking. A masterful satisfactory conclusion.

[@shaneculkin7124]

If this is done right, the audience should be in tears by Jack's song in this act. Love it.
That song gets me every single time. Even in Act I

[@susanlewis0611]

The rendition of Strange Adventure is beautiful! Goosebumps!

[@foveauxbear]

"Warders are we, whom do we ward!?" I love the men here such arrogant vigour considering their failings as warders.

[@Glicksman1]

Many earnest semi-professional and amateur companies have regularly performed “Yeoman of the Guard”*, the finest example of English Opera, in my opinion, many of whom have recorded the same and which are available here. However, one moment's listening to the D’Oyly Carte Opera Company’s performances of it, and from any era (although I favour the uneualled1950 recording with Martyn Green, et. al) instantly discloses the difference between what is good and what is great. It should not come as a surprise to anyone that nothing even comes close to the D’COC's productions of G&S.
This recording of Yeoman is surely how G&S intended this opera to be performed and to sound. I suspect that if Sir Arthur, Schwenck, and D’Oyly could hear how their brilliant works have been preserved and performed by and for later generations they would be more than satisfied with the result, although Schwenck, in his customary manner, could be expected to offer a comment or two containing some suggestions towards improvement.
I admit to possessing a good deal of wistful emotion when remembering how and when I first heard Yeoman when a child, was thrilled by it and grew with it and all of the other G&S operas, all of which I am certain were of the best possible influence and aid in the forming of my adult character, granting to me much of whatever value that I may have acquired.
*The proper name for those who, in their magnificent and colourful livery serve at the Tower of London, is “Tower Warders”, not the “Yeoman of the Guard”, more correctly, “The King's (formerly the Queen’s) Body Guard of the Yeomen of the Guard”, the British Army’s unit charged with being the bodyguard of the British monarch. It is the oldest British military corps still in existence, having been created by King Henry VII in 1485 after the Battle of Bosworth Field, famously portrayed in Shakespear’s “Richard III” wherein Richard, closely pursued by Henry Tudor’s soldiers cries out, ”A horse!. A horse! My kingdom for a horse!”
If you ever visit the Tower of London, and I strongly suggest that if and when In Londen that you do, if you speak to any of the Warders, refrain from referring to them as the Yeoman of the Guard”, or even mentioning the opera to them. They do not take kindly to it and they are well-armed.
In productions of Yeoman, the Frontspieces of the Guards’ livery are usually and properly initialed “H-R” for “Henry- Regent”, although I have seen costumes with “E-R” for “Elizabeth-Regina” (signifying Elizabeth I) in some productions. In any event, “H-R” does not signify Henry VIII as some have surmised, but rather his father, Henry VII (Henry Tudor), who established the Yeoman of the Guard.