CHORAL SOCIETY'S CONCERT.

Auckland Star, Volume XXVII, Issue 106, 7 May 1896, Page 3

CHORAL SOCIETY'S CONCERT.

••THE MARTYR OF ANTIOCH."

It is as the composer par excellence of EngUah comic opera that the majority of people know Sir Arthur Sullivan beet; and certainly one could hardly wish for a more delightful medium of acquaintanceship than that galaxy of works which has "bed its lustre on the English stago. Bat notwithstanding the popularity of *™ sJrcerer" Ind the tuneful nine which Incceeded thab work, it may be qnea Soned whether Sir Arthur has not Uid the foundations of his fame 'a bis more serious compositions. Probably tho Dooular verdict would give the palm to the o^ras which have so often driven away dull care and banished melancholy, du_ thare are features in such a work, lor iostance, as that which was P*\ i0™*d*l t_ B Choral Society on Tuesday nighti whicn may secure the composer a more la_.ing W?\he°Mar_yr _of Autidch" commends itself to the more serious and tutored oar, bub ab the same time it abounds m «ia_ light brightness which is so characteristic b( the opera.. Much of the tnußic is what those who know Sir Arthur chiefly in confraction with Mr W. S. Gilbert will term Sullivonesque, There aro dozens ot passages which bring back » The Gondoliers,^ ••fheMikado," "The Yeomen of the Guard, and some of those passages were among tho i most appreciated yesterday. The orchestral orelade to the choius of Sun Worshippers jo the Temple of Apollo, gives a brilliant opportunity for the violins and wind irt.-u----ments. Professor Schmitb had the performers well under command, and the concert opened in good stylo. The choir was numerically very strong and well nttea for its work," but just at the commencement tho singers seemed a trifle lacking in spirit. However, this was only a momentary defect. They soon warmed to the work, and in the succeeding choruses they were full of fire and melody and precise in their enunciation. The representation of the pagan multitude singißg " Long Live Olybius," was magnificent; the volume of vocal and instrumental music being surprisingly great) and excellently proportioned. A very fane effect is produced by the transition from the lond and proud music of the pagans, with its brilliancy and force, to the calm, majestic, organ-like strains sang by night ab the burial place of the Christians. The contrast between the two is one of Sir Arthur's happiest efforts, to which both the choir and orchestra did justice lasb night. The evening song of the maidens is one of the most voluptuous numbers in the drama, suggesting crisped shades and bowers where " The we3t winds, with musky wing About the cedarn alleys fling Nard and cassia's balmy smells." Another fine number is the hymn of the heathen maidens to the rising sun. There is a semi-barbaric splendour, an excess of sensuous joy In the music. The ladies were a little weak in this chorus, some of them having a slight difficulty with their parts. The males, representing the Christians in the prison, were much better, their combined voices pealing forth in a rich stream of deep religious melody. In the " lo Paean " chorus, which followß~-a stirring burst of music—the Choir was much more successful, and in the final chorus " Glory, Glory, Glory, The Lord Almighty Keignebh," the singers sang with a triumphant enthusiasm worthy of the theme. The singing of the choir meb with pronounced commendation, the audience —an exceptionally large ono, the hall being packed—frequently testifying their pleasure by applause. Thd soprano of the evening was Mrs Arcbdale Tayler. As Margarita, the martyr, She had a part thab is anything bub easy. ..Her .first song, "Yet Once Again I Touch thy Golden Strings," is sung to an accompaniment (violins and fiate) of surpassing sweetness. Mrs Taylor's voice is sweeb, and her notes were

all clear, bub the number was a heavy

one in more than one respect, requiring ' a great deal of sustained expression which ib is hard to give when the music presents a score of difficulties which tar the singer. The hymn " For Thou Didst Die for Me, 0 Son of God " was a marked improfoment on her first effort, and when the ended the applause was general. In the passages where she denies her religion atid declares for the cross, her singing was lacking in dramatic power, This fault Was much less marked at thab parb where the maiden faces the infuriated heathen mob, which is shouting "Blasphemy, blasphemy." Here Mrs Tayler roae to the occasiea, and in that closing aceae Which brings all beaten before 6he Wrapt gaze of the martyr, she reached her highest level. Mrs G. Coates aaJuiia made a success in " lo Pa.an," which she sang with much softness and expression. Mr Archdale Tayler's strong point lies in the dramatic expression he has command of. He sings with understanding, and as he ia always very clear in his enunciation, his doging has an in*

teres. lor Us Which many mere musical voices fail to awaken. As Callias, the Priest of Apollo, he delivered himself with touch dignity and force. The dialogue with Margarita was good and the verse, "Behold in Yonder Space" full of melody. Better still was his part in the concluding scene •of the drama in which the four aolbists are heard together. Mr G. Reid conducted himself well in the important parb allotted to him, viz , that of Olybius, the Roman Prefect and lover ot Margarita. The tenor numbers occasionally wero a tax ob him, his voice being nob perfectly fitted lor giving the highest notes their full force and melody, but, considering tbis disadvantage, he scored a great success. That beautiful seng sung by Mr Edward Lloyd, " Ceme Margarita, Come," was delivered by Mr Reid wibh no little sweetness and effect, and the duet between him and Mrs Tayler was loudy'applaudod.

I'ho concert was in every respect a very successful one, and the performance of the drama reflects great credit on all concerned in it. Particular praise is due to i)r. Ccx as leader of the first violins and JMr R. Yates as leader of tho second violins. Everyone must admit that these gentlemon acquitted themselves admirably, especially when we bear in mind the immense difficulty of the work.