MUSICAL SOCIETY'S CONCERT.

Press, Volume XLIX, Issue 14658, 6 May 1913, Page 7

MUSICAL SOCIETY'S CONCERT.

Tbo place of honour in tho programme- of the- Musical Society last night was occupied by Mendelssohn's uiifibi.shixi opera "Tho Loteley" based upon Geibul's poetical version of a romantic legend or tho Rhine. It wan his "Swan Song" and destined to remain a torso. Ail his l.fo hv felt inI spired to emulate- Weber's example in ! tho creation ot na'.ioiial opera, tuough lan art form foreign to his genius, lor ho lacked just tho qualities esseutial tor dramatic &uceess let atom* yrcatuess. Thero is beaucuul music in these iragmeuts of the "Loreloy," gracelul in tho ' Avo Alaria" his consummate skill is evident, in all the choral numbers and tiimr orcuesiratiou. Leonora's, tile Heroine's part, ajbcioscs a sjj.unuiu attempt; nouiy linpadaiuuate, aumirauio in torm auu suusuiuce, it Ueligiua, but tails snort in urainatic trutn auu weiglit. \\c need only compare Her part, with the "Vengeance Ana" or ..Uozart's "jj-on Oiovanm* , to realise tatal defect m poem and music ot tno "Loreley." But on the concert stnge its appeal is always assured, as it was with its production last nijjht, whicn found the warmest appreciation. Jn Mascagm's "(Javuileria Uusticana," tuo dramatist and tho composer stand on equal heights. A village tale true to Hie is unfolded, such as Happens day by day. There is the gay deceiver and the trustful loving maiden, as in tho 'Loreley," but its pathos is convincing, the inevitable conflict and tho tragic ending are artistically tore-shadowed, leading irresistibly, as in fate, to tno climax. Tho only weakness of tho plot seems to bo tho disappearance from the scene of Santuzaa, round whom the tragedy is woven, too soon, before the die is cast. Tho music clings to tho words, liko tho shirt of Nessus, much of it has penetrated everywhere into homo and concert-room, almost like Rossini's anil Verdi's did in their day, as fine Italian melody has ever done. The lovo of Easter music, with its contrasts in expression and colour, rising triumphantly to the strains of "O Rejoice That tho Lord Has Arisen," produces a startlingly realistic effect; tho duets between Santuzza and Lucia, between Santuzza and Tiriddu, the drinking song, and the powerful finale, are wonderfully fine inspirations, enhanced by tho arts of the orchestra, bo prominently and skilfully employed. The transference of the opera from the | stage to tho concert room, as presented last night, has been eminently | successful, for which we have to thank the happy ( choice of the principal soloists, who understood and conveyed the intensity of the pnssionful scenes by word and expression, Madame Wielaert and Mr Frank Graham. The hapless Santuzza of Madame Wielaert was an artistically worked-up composition, true in feeling, life-like, warm-hearted, finely-sung, and powerful in delineation throughout. Excellently as she sang as Leonora, it was as Santuzza that the merits of her well-trained, rich, and sympathetic [ voice were displayed to the highest advantage, and her highly-developed djamatie sense was most conspicuous. Now nnd then a foreign accent affects a word, or syllable, as the only defect soon forgotten over a splendid recovery- She found a most able partner in Mr Frnnk Graham as Tiriddn, and we axe constrained to say that ho has never sung here publicly -with more pronounced and praiseworthy effect, as regards both voice and declamation. In the duets with Madame Wielaert, and subsequently in the "Wine Song" and duet with A.fio he was equally excellent. Wo can only find blame for an occasional dragging of the words in recitative. Against two snch experienced dramatic singers the- other eoioists wero heavily handicapped. Miss Eva Nixon, jgiftedwitb a pretty voice, ■which she uses with taste, and giving proofs of intelligent study of tho words, came nearest her two principal associates. Miss Living- ; stone, on the other lwyid, lias not yet mastered a previously noted hesitating tendency that restricts tho display of .1 voice that should sound extremely well with rnoro confidence in her own powers. Mr Frank Charlton is a singer who, with an organ of pleasing quality and culture, would feel more at homo in music of a lyric- character than in the rolo ho was called upon to sustain as Alfio last night. Mr Alfred Worsley, who made his first appearance as conductor of tho Society, is to be warmly complimented on tho able and careful manner in which ho prepared and directed tho performanco of both works so shortly after accession to this office. To the Mendelssolm tempi wo could not always agree, and tho accompaniments in some recitatives allowed hardly enough freedom to tho singers. But on tho whole praise is due to him, and there is every prospect of whole-hearted support on the part of chorus and orchestra. The chorus is rather too largo, and certainly too powerful at times, for >operatio purposes, especially when the solo voice is to bo heard above it, but it takes some time to accommodate oneself to altered circumstances. As far as tho completeness and efficiency' or their work was concerned, not much fault could bo found with their performance last night, but in tho way ot colouring and the gradual leading up to climax points there is a good opening for improvement. Much accentuation as we heard in "Hark, the bound of Evening Bells," with an accent on each syllable, should not occur. The orchestra showed decided marks of improvement since the last concert; their playing of the Intermezzo was rewarded by stormy applause! The Cathedral Choir never shows its calibre outside its own domain.

The- subscribers' concert of the Christchurch Musical Society will bo held in His Majesty's Theatre* to-night. Seats may be reserved np to 4.45 p.m. a% Milner and Thompson's.