Alan Jay Lerner (1918-1986) & Frederick Loewe (1901-1988)
My Fair Lady (1956)
A Musical Comedy in Two Acts adapted from George Bernard Shaw’s play Pygmalion (1913) and Gabriel Pascal’s motion picture Pygmalion (1938)

Eliza Doolittle – Scarlett Strallen; Henry Higgins – Jamie Parker; Alfred P. Doolittle – Alun Armstrong; Colonel Pickering – Malcolm Sinclair; Freddy Eynsford-Hill – Laurence Kilsby; Mrs Pearce – Julia McKenzie; Mrs Higgins – Dame Penelope Wilton
‘My Fair Lady’ Ensemble
Sinfonia of London/John Wilson
Chandos CHSA5358(2) SACD
chandos.net

Just as Professor Higgins transformed his Covent Garden flower girl into a lady fit for an embassy ball, John Wilson and his Sinfonia of London have wrought something rather miraculous with this complete recording of Lerner and Loewe's My Fair Lady. Here, at last, is the entire score in its original orchestration—every note, every underscore, and every cut number restored—and the results are nothing short of splendid.

Wilson's orchestra fizzles and crackles with authentic period spirit from first bar to last. His meticulous research has yielded significant results: this is not just a recording but a revelation that faithfully captures the work as it sounded on that renowned opening night. The conductor's own comments reveal his reverence for the material—describing it as "the quintessential American London musical" and noting that "there is not a semiquaver or a semicolon in the wrong place." Such devotion to the creators' intentions is palpable throughout.

The casting proves equally inspired. Scarlett Strallen makes for a thoroughly convincing Eliza Doolittle, her loverly cockney perfectly deployed in the early scenes before that thrilling transformation. Her Ascot moment provides genuine fun, and by Jove, her enunciation after The Rain in Spain demonstrates the very metamorphosis the show celebrates. It's a performance of real intelligence and charm.

As Henry Higgins, Jamie Parker proves delightful—no mean feat when following in Rex Harrison's formidable footsteps. His interpretation relies heavily on intonation (one can't help thinking of a certain monarch), and he makes the role entirely his own. Malcolm Sinclair brings his considerable experience to Colonel Pickering—having played the role twice before, he's modelled his no-nonsense, stiff-upper-lip portrayal on Sir Adrian Boult, and the authenticity shows.

Tenor Laurence Kilsby's Freddy possesses a lovely, clear voice that makes the young romantic truly engaging, whilst the adorable Penelope Wilton brings her distinctive tones to Mrs Higgins. Alun Armstrong clearly relishes Alfred P. Doolittle's showstopping numbers, and Julia McKenzie rounds out the stellar ensemble as Mrs Pearce.

Wilson's achievement extends beyond mere recreation. He correctly notes that masters of their craft "chiselled away" at this score for months, and his meticulous attention honours their artistry. From the moment he raises his baton to the final bars, the performance remains utterly compelling. The Sinfonia of London's playing combines superb musicianship with infectious energy—there are toe-tapping numbers aplenty, and the whole production exudes that ineffable Wilson quality.

This My Fair Lady follows the acclaimed recordings of Rodgers and Hammerstein's Oklahoma! and Carousel, representing another triumph. This is a feel-good album par excellence: a strong cast, compelling performances, and orchestral playing of the highest calibre. What's not to like? The result is a stellar production that does justice to what may well be, as conductor Richard Bonynge suggested, among "the great operas that will live on."