CHORAL SOCIETY.

Auckland Star, Volume XXXII, Issue 132, 5 June 1901, Page 5

CHORAL SOCIETY.

SECOND CONCERT.

In the presence of a large audience last night the Auckland Choral Society gave their second concert of the season, and the first since the Christmas vacation. The first part of the programme, was devoted to Act. H. 01 GluekS "Orpheus," and the latter to Gade's cantata, "The Crusaders.' Gluck was forty-eight when lie wrote "Orpheus/ and by this he won the laurel for all future time in pathetic and tragic opera. That he should have lived till this age before composing a work whose intrinsic worth will perpetuate his name to eternity is but one of the many instances in the history of the arts that genius in not confined to any particular age. The subject of his £rst great work, "Orpheus," was used as far back as 1600 by the first opera composer known to history, Jaoopo Peri, and since his time a hundred other composers prior to Gluck, bepides contemporaries and successors, have treated the same subject. However, that by Gluck takes the palm, and entirely overshadows all the others. If he had never written anything beyond the grand introductory scene to" the second act, that would have been alone sufficient to hand his name down to posterity. He had a lar"-e «oramand of tones, and his orchestration often paints the emotions of the vocalist, and lends to the feelings the most charming colouring. The representative Scandinavian composer Gade has produced many excellent works, among them being •'The Crusaders." which is one of the most powerful, as well as beautiful, of modern cantatas. It was written for performance in Copenhagen in 1860, and 10 years later was produced at the Birmingham Festival, under the composer's guidance. It is divided into three portions. Its theme is the same as that which Wagner has treated in "Lohengrin" and "Tannhauser"—the conflict of the human soul with the powers of darkness, sensual beauty, and sorcery, and its final triumph" It depicts the temptation of Einaldo d'Este, the bravest 'Of the Crusaders, by Armida and her sirens, who finally call upon the Queen of Spirits to assist them in their hopeless task, the thwarting of the powers of evil, and the final triumph before Jerusalem. The music of the composition is in keeping with tho libretto, and reveals a genuine flow of melody, and instrumentation full of fancy and device. All the choruses in "Orpheus" were admirably sung, careful regard was given to" phrasing and accentuation, and the intonation was generally satisfactory while The baud performed its. exacting labours in creditable fashion. That wonderful tonal-crea-tion, "O Be Merciful to Me," with its Supplicating contralto strains of; Orpheus begging the mercy of the! frantic immovable Furies of the: nether world received a very dramatic and effective interpretation. As each time the spirits of Orcus thundered their emphatic "No" in reply to the pleadings of Orpheus, the effect, with the frightful realism of the orchestral accompaniment imitating- as it floes the barking of hell hounds, was extremely dramatic and telling, and secured for the performers, wellmerited applause. The graphically ■written, dance of the Furies also was Tery finely realised by the orchestra. Miss Reeve sustained the part of

Orpheus, and sang throughout with a feeling- and taste that displayed the. results of careful study and determination to do full justice to her subject. The choral portion of "The

Crusaders" was sung Avith animation, delicacy, and precision; while to the instrumentation, upon which Gade has lavished so many charming effects of colour and resource, equal justice was done by the orchestra. The opening- chorus of pilgrims and >vomen in the band of the "Crusaders," expressive of the weariness they have endured in their long wanderings, was very graphically delivered. In it each note received its full value, and every sign of expression was most carefully observed. A resolute and effective reading was given of

the chorus "God Wills It," the sforZandos and fortissimos sounding out With telling effect. The evening prayer of pious longing and exalted devotion, "Father, from a Distant . Xand," was very tastefully sung, and Was in full keeping with the words •nd the music. The strange mysteri-

ous orchestral prelude to Scene 11. was carefully executed by the orchestra, and"the following concerted number, "Silent Creeping," was rendered with beautiful tone, suitable phrasing and a good pianissimo. The sopranos and contraltos sang with tenderness and grace the melodious part song, "The Wave Sweeps 'My Breast." They also, acquitted themselves very well in the beautifully concerted number, in which llinaldo, Armida, and the Chorus of Crusaders and Sireus contend for the mastery. In the Crusaders chorus, "The Welcome Sun," the male voices delivered their music in a martial and vigorous mauner, which was adequately accompanied by the orchestra. The chorus "Forward" was firmly delivered, and the noble impressivencss of the jubilant "Jerusalem, the Goal is There," was indeed very fineJy realised. Miss Ada Matheson essayed the music of Armida, and acquitted herself on the whole very satisfactorily of a duty that imposed no light task upon her resources. Her best delivered numbers were: "They Softly Sleep" and "O, Rinajdo." Blie also sang successfully the part of Euridice in '•Orpheus." Mr Trenwith was in good voice, and won distinction for hi* capable singing of Rinaldo.. He gave a careful delivery of "Shine Holy Sun," and was specially pleasing in "With Holy Thoughts" and "Wondrous Splendour." Mr C. Kissling was cast for "Peter, the Hermit," and he gave creditable readings of his portion. The performance went very smoothly throughout, and was a most enjoyable one. Though the attendance of the members of the choir was not so large as usual, yet there was a good muster, their being 115 vocalists, and an orchestra of 50. The sopranos sang with much spirit, good tone quality, and paid marked attention to the lights and shades of the music. Clearness of enunciation, firm leads, and correct phrasing- were the most noticeable features of the performances of the contraltos, but their tone quality might have been better to advantage. The tenors, though few in numbers, succeeded very well, and lent valuable aid. The splendid body of sound possessed by the basses was specially prominent, and they made a fine back-ground to the rest of the chorus, while for unity of attack, and precise observance of the gradations of tone, they deserve warm recognition. The orchestra, under the able and artistic lead of the gifted Mons. dc Willimoff, did admirable work, and Dr. Thomas conducted with the consummate skill of a musician who has a perfect mastery alike of his theme and his forces. Mr Hunt presided at the organ with dis-crimination-.-and Mrs Jackson supplied the harp music in an effective manner on the_ piano.