ROYAL MUSICAL SOCIETY.

Press, Volume LXVII, Issue 20224, 30 April 1931, Page 5

ROYAL MUSICAL SOCIETY.

" TANNHAUSER." For last night's performance of the Royal Christchurch Musical Society had been chosen "Tannhauser," third on the list of Wagner's operas. "Rienzi," the first, was yet modelled on the lines of Meyerbeer's spectacular creations, then at the height of their popularity. But in both "The Flying Dutchman" and "Tannhauser," Wagnor's own genius and independent stride came to expression. Not yet had he discarded altogether the formal arias, once the mainstay of opera, or cut out the stately choruses. That was yet left to the future. But both these operas open up already a new era of undreamt orchestral splendour and a new wealth of chromatic harmony, carried to perfection in later works. Wagner is not merely to be acclaimed as a master musician, but is valued also as a poet of high distinction. His choice of subjects from legends and sagas and their poetic framing into dramatic effectiveness confirm the claim. The first production of "Tannhauser" took place in 1845 at Dresden, and resulted in comparative failure. Maybe the ears of his audience were not yet attuned to the new, richly flowing but strange harmonies, or the vital struggle involved in the drama, between Christian faith and heathen goddess, proved distasteful—failure it was. It need hardly bo said that it has gained since due recognition, though overshadowed by greater works, all no longer "mus'ic of the future" as they were styled in early days and even for many years. The performance of the difficult work was accomplished under Mr W. H. Dixon's inspiring command and intimate care, the chorus was large and tli® orchestra admirably reinforced by the assistance of Mr and Mrs Bate, Signor Savini, and Mr Glaysher. The extensive Prelude made at once a fair impression. Upon the orchestra indeed is placed the heaviest and most responsible burden. Elisabeth's very first solo, "Oh Hall of Song," and her subsequent duet with Tannhauser bore testimony again to Mrs Gara Tait's fine singing and her excellent voice that continues to improve. As "Landgrave" Mr J. D. Williams disclosed dignity and fair vocal power. In the succession of choruses in the fourth scene the singers, ladies foremost, produced a great tone-volume with the music perfectly familiar the whole .body. The "Wolfram" of Mr Laurenson in his solo "Gazing Around" was,an admirable performance, but he sustained an equal standard right through. Mr Hubert Carter made a spirited "Tannhauser" singing with great force and confidence, especially in the "Tournament of Song." Very good wore also Mr J. Y. Wilson and Mr Blakely. The concerted numbers were working well together with a fine lead by soprano and tenor. In the ominous strains of the introduction to the second part the orchestra came on creditably. At the full operatic staging the chorus approaches from- behind tile scene and the illusion of distance arid approach is convincingly felt. That effect was of course impossible on the concert stage. Mrs Cara Tait sang very feelingly, and with charm, the beautiful "Elisabeth's Prayer," but that she was made to sing also the hostile Yenus part establishes no doubt a never-at-tempted record. The final sections were sung with finely dramatic force, well supported by the orchestra. Summing up, the difficult work was introduced with a result surpassing expectations, particularly at a first presentation, and orchestra, chorus, and their able conductor share. the laurels. The concert attracted a very large audience that seemed intensely interested and pleased with the performance.