ROYAL MUSICAL SOCIETY.

Press, Volume LXI, Issue 18566, 16 December 1925, Page 11

ROYAL MUSICAL SOCIETY.

- "ELIJAH There is nothing new to he said about i "Elijah," which sums its oourse in innumerable rehearsals all over the world, but that the great oratorio retains its vitality unim- # paired, and that its beauty is as overpowering as ever. The Royal Christchurch Musical Society liitve eet themselves ail admirable and for a choir, the most grateful task by choosing it for tlieir final concert, held last night. For Mendelssohn has written moat, of the choruses in full harmony, which in a well-balanced choir produces the most impressive effect in striking contrast with the solos. The chair, under Mr Sidney Williamson's firm hands, produced in the powerful numbers, a rich, vibrant tone, never overstrained, and although male singers were not numerous, the harmony appeared well balanced and very satisfactory. Very finely came out such choruses as "For He, the Lord our God" and "Blessed are the Men," and the softly blended tone like in tho Trio "Lift Thine Eyes" and "The Watching O'er Israel" vine very beautiful. And the general training of the choir in respect to entries and reliability left little to desire. But fault must be found with the method of sequence in the numbers. "Elijah" is an intensely dramatic oratorio, reqniring dramatic treatment, which allows no gaps between the several scenes developing the exciting narrative. From the Widow's "What Have I to do" to the chorus "Blessed aro Men," and again from "I Never Troubled Israel's Peace" right through the appeals to Baal, and to the prayer "Lord God of Abraham," all should be as continuous as in a stage drama. Turning to the, principals, it wu with, a sense-of bewilderment that one heard! the "Elijah" of Mr John Pronse. According to his own statement, it was 33 years ago when he was first heard in .Ohrietchurcli in -the same part as a great interpreter. He was not a young man then. Now, when the silver of ago has touched him, one was I prepared to judge him leniently, in remembrance of the past. There was no need. His is still the voice, the power, the spirit of youth, nor hare liis art and pathos suffered diminution. He wa3 a, wonderful "Elijah," leading up to great climaxes, in perfect diction, of course, with a fin« dramatic sense. He made it not easy for his as striates to live up to his standard. The soprano, Mrs Percy Rule, treated the Widow's beautiful air with too much vehemence, resulting in a hard, short tone. She may be reßentful and impulsive at first, but the tone from "Help Me, Man of God," should Iks one of supplication. In her later parts, under greater composure, her voice sounded very »iell indeed. With a good, resonant, well-balanced alto voion, Miss C. Freeman Brown, quite equal to her task, :>aiig too reticently, as if she did not. yet trust 'herself. When, .her diffidence is she will be a valuable singer. Mr Alfred JValmsley, as tenor, has a good, effective voice, and rings with confidence and understanding, but against him tell convulsive movements, such as shaking of the head. He was at his beat in the lovely air, "If With All Your Hearts."

The orchestra, with' ■Mr S. Smith as leader, gave very good service in accompaniment, but laciked confidence in the overture, v.'lurfi might well have been omitted with no detriment to ~t.be work. The Oratorio ■nil! be repeated to-night.