ABSTRACT
This chapter discusses the D’Oyly Carte’s relationship with sound media companies.
Back in 1888 Sullivan attended a demonstration of the Edison phonograph and had his voice recorded. His reaction was one of horror, though we can be sure that Richard D’Oyly Carte would in contrast have been delighted as he had been with telephone relays from the Savoy Theatre. The earliest pioneers of the recording industry, already active at the turn of the century, used Gilbert and Sullivan repertoire but the D’Oyly Carte was not involved.
Only towards the end of the First World War was Rupert DC persuaded to take an interest in recordings of the operas, and a series of recordings, advertised as “under the direction” of the D’Oyly Carte, was produced; this was not entirely honest advertising, and only gradually were any singers from the opera company used for recordings. When the BBC was established Rupert DC was keen to exploit the medium for his Savoy Hotel but not so keen to have broadcasts of Savoy Operas and then only short extracts, but at least these were a true representation of the company.
The advent of HMV electrical recordings greatly enhanced not only the quality but also the conditions under which recordings were made. The BBC improved conditions for broadcasting from the Savoy Theatre by running lines direct from the theatre to their Savoy Hill studio.
When Bridget DC took over the company she engaged Decca, not HMV, for recordings. At the same time, she scotched the idea of radio adaptations of the operas by BBC but was persuaded to allow extracts to be broadcast live (yet other companies were broadcasting complete works). A full broadcast of The Mikado, pre-recorded, was arranged in 1954 when the BBC negotiated with general manager Frederic Lloyd, and there was a live relay in 1957 of The Gondoliers.
From the 1960s with the lapse in G&S copyright the relationship between D’Oyly Carte and BBC went downhill. Decca recordings continued but the quality was inconsistent.
