LIEDERKRANCHEN CONCERT

Press, Volume XCVIII, Issue 28907, 29 May 1959, Page 13

LIEDERKRANCHEN CONCERT

25th Anniversary Of Choir

The Christchurch Liederkranzchen gave its silver jubilee concert in the University of Canterbury Hall last evenihg. Mr John Ritcfiie conducted and both choir and orchestra responded excellently to his artistic ' and sensitive direction. As is customary at Liederkranzchen concerts, everything had been meticulously prepared, so that technical difficulties had been skilfully mastered, and the music was performed with full understanding. The first work was Pergolesi’s “Stabat Mater.” Marie Sutherland and Elizabeth McCombs were the soloists, and the John Ritchie String Orchestra played the accompaniments. This is a movingly beautiful wdrk, quite suitable even for a liturgical performance, restrained, expressive, and deeply-felt. The choir captured its reverent and impressive atmosphere with beautifully expressive and wellbalanced singing, smoothly and graciously phrased. The more quiet choruses were sung with an interesting variety of tone, always suited to the text, and the heavier portions of the work were sung with firm use of voice and good rhythmic drive. Dramatic intensity was there, but everything was kept within stylish bounds.

Miss Marie Sutherland has a soprano voice which is resonant, steady, and unforced. Its tonal quality is immediately attractive. Occasionally in the “Quae Moerebat” aria, while searching for the darker colours, she produced her voice somewhat further back than was advisable, and the result was a slight unevenness, but at all other times hef singing compelled attention and appreciation. Her phrasing and her use of nuance were always most attractive. Miss Elizabeth McCombs has a voice of considerable promise. There is an appealing quality of timbre, and her voice will richen considerably with more experienced control. She sang with understanding and kept good balance in the duet work.

Led by Mr David Stone, the John Ritchie String Orchestra, which played the accompaniments both for the Pergolesi and for Cannon's “Songs for Delight,” played excellently. Both balance and precision were of a high order, and the playing was expressive and carefully phrased. Only when the strings of the National Orchestra have accompanied a choral work have we had accompaniments played as pleasureably as was heard at this concert.

The choir sang two numbers which were performed at its first concert 25 years ago. These were Elgar’s "As‘Torrents in Summer,” and “The Graceful Swaying Wattle.” by Frank Bridge. Both were sung with pleasing tone and well-defined rhythm. The programme ended with a performance of Philip Cannon’s “Six Songs to Delight.” This work has been performed before, but once again these songs fully lived up to their title. They were certainly most delightful. Ben Jonson’s words have been skilfully set by Mr Cannon. His music is difficult to perform, but it all came very smoothly and both choir and orchestra deserve congratulations for an efficient and artistic rendering —C.F.B.