THE CHORAL SOCIETY.

Auckland Star, Issue 265, 8 November 1929, Page 10

THE CHORAL SOCIETY.

SUCCESSFUL CONCERT.

TWO OPERAS PERFORMED,

In this era of vanishing and struggling musical societies, the Auckland Choral Society did well to choose for last night's concert a programme of such varied interests. Rossini's "Stabat Mater," one of his greatest dramatic compositions, has reigned 'high in popular appeal since its initial performance ,in 1832. Rossini, a master of melody, sound technique, with a flair for vocal writing, provides, in his "Stabat Mater," an interesting example of the successful composer of countless operas essaying to write in the church mode,' and giving instead the operatic idiom to the Church. With the advent of that giant of music drama, Richard Wagner, orchestral colouring and modern atonality vanquished the flowing melody of the early Italian masters, but it is highly significant that on the Continent, this decade has witnessed tho return to popularity of the old'ltalian school.

The introduction to "Stabat Mater," "Stood the Mother Full of Grief," sung with quiet restraint by the chorus and quartet, created a fitting atmosphere for the subsequent numbers. "Cujus. Animarn," a perfect piece of writing for tenor, was sung very ably by Mr. Arthur Ripley; the duet following, by Miss Kate Campion and Miss Molly Atkinson, with its effective horn introduction, was a well-balanced performance. "Pro Peccatis," one of the most graceful melodies written for bass voice, gave an excellent opportunity for Mr. Arthur Colledge to show his musicianship. In the recitative for bass and chorus, the choir achieved the rare feat of keeping true pitch during an unaccompanied number. The vocal quartet, with" its strongly rythmetical accompaniment, secured well merited applause. Miss Molly Atkinson, a young singer with a rich contralto voice, sang the following solo very delightfully. The only encore in this work was awarded to Mies Campion and chorus for a highly artistic performance of "Roused and Troubled." The chorus concluded with a strongly delivered "Amen."

"Cavalleria Eusticana" opened with the prelude and "Siciliana" carolled by Mr. A. Ripley, with harp accompaniment played by Miss Mavis Grevatt. With the chimes merrily pealing, the chorus gave a ! 6tirring rendering of " 'Tis Easter," and with fitting sense of justice and maybe poignant memories, there were moments when the chorus overpowered the orchestra. The next scena was delivered in a 'highly dramatic manner by Miss Campion and Miss Atkinson. Mr. Ernest Snell sang with rich abandon "Who's For the Road, Boys?" and maintained successfully a steady tempo against the orchestra's syncopated accompaniment. Miss Campion triumphed in "Mother You Know the Story," and with Mr. Ripley gave a vivid interpretation of the scena and duet. Lola's song, with its dainty oboe obligato, played 'by Mr. Pierman, secured a sympathetic rendering by Miss Atkinson.

Some years ago, in Rome, a musical director was mobbed 'because of his refusal to accept an encore to the rather famous "Intermezzo," and perhaps it was the lateness of the hour that prompted Mr. Muston to tako a like risk. The "Drinking Song" was delivered with fitting elan by Mn Arthur Ripley, and the melodramatic Finale brought to an end x very sound performance.

The society was very fortunate in securing so able and experienced a singer as Miss Kate Campion for the role of Santuzza. The work of the very excellent chorus was well up to the standard we have been led to expect of them. Mr, Colin Muston is deserving of all credit for the success of the performance. His authority was never for a moment in abeyance, and his dominating personality held things together firmly at all times; rare lapses in the orchestra were more than conpensated for by the generally sound work and many passages of great beauty.

The society is fortunate in possessing a leader of such quality as Miss Edith Whitelaw; her musicianship played no small part in the success of this concert.