ROSINA RAISBECK

Press, Volume LXXXIII, Issue 25177, 7 May 1947, Page 5

ROSINA RAISBECK

A VERSATILE SINGER The programme chosen by Rosina Raisbeck for her final concert last evening showed her artistic versatility. The first half consisted of oratorio and the second of operp. In all that she sang she created the right atmosphere; ana the clever way in which this was done showed what remarkable histrionic ability Miss Raisbeck .possesses. Handel’s “Thou Shalt Bring Them In” and Bach’s “Prepare Thyself, Zion,-’ made a fitting opening, and the restraint coupled with the vitality demanded was in full accordance with oratorio tradition. She sang with a beautiful legato in the first number, and in the second her rhythm was really fine. The recitative before “But the Lord is Mindful” made one wish tha. more recitative had been included in the programing for, although it was short, it clearly showed Miss Raisbeck’s great ability in this difficult form of singing The aria itself was sung with sincerity and tenderness, which also marked her singing of the greatest work of the evening, “The Angel’s Farewell” from the Dream of Gerontius, by Elgar. This is one of the most moving passages in the whole of oratorio. It would havg been helpful if an annotation to this work had been given in the programme. While it is quite suitable as a separate solo, one needs, for a full understanding of it, i knowledge of the whole poem and the theological teaching which inspires it. Miss Raisbeck sang it superbly and with full appreciation. She was fine in “Fac ut Portem,” irom Rossini’s Stabat Mater. The atmosphere of this composition is of opera rather than oratorio. When one realises that the words refer to the Passion of Christ and one listens to the music with which they are associated the incongruity is fantastic.. The same is true to an even greater degree of two unfortunate encores, which do not belong to oratorio at all and completely spoiled the atmosphere created by the preceding works. Let us consider the worst of these, a setting of “The Lord’s Prayer,” by Malotte. It is a vulgar work in the style of a sentimental ballad. The true tradition of liturgical music is exemplified by the ancient plainchant of the Pater Noster, which, while it fully expresses the mind and feelings of mankind as a whole, can also voice the deepest individual devotion. But this other composition is purely personal. overdone, and ~ cheaply emotional.

.Mr Melville Lawry accompanied Miss Raisbeck on the Civic Organ. Owing to the impossible placing of this organ, it is a most difficult thing to accompany a singer on it. The dividing of the pipes made it necessary for the singer to stand at one side of the theatre, and only a very small part of the organ could be used. However, Mr Lawry fulfilled his task with good artistry and with as much variety of tone as was possible. He played a Finale by Harris as a solo, with nhrasing and restraint.

Miss singing of operatic arias in the second half calls for the highest praise. Her control of tone, nhrasing. gesture, and expression shows what a great future she should have in opera. The two Mozart numbers were performed magnificently, and Miss Raisbeck' and Miss Lower, her excellent accompanist madp these two works a mode] of the treatment Mozart should receive. In the other arias also, “Ah. My Son” and “Lieti Signor” by Mayerbeer. “Softly Awakes My Heart’’ by Saint Saens. and "O. My Beloved Father’ by Puccini, both artists gave of their best and showed how fine these works can be when nerformed with such admirable finish. Special mention must be made of Miss Raisbeck’s lovely mezzo voce singing in “Je Crains” from Tchaikovski’s Pioue Dame.

Miss Lower nlayed her solos with great charm. She is a fine musician and practically a perfect accompanist. —C.F.B.