THE WEEK'S RADIO N.Z. Actor In B.B. C.'s “The Country Wife"

Press, Volume C, Issue 29526, 30 May 1961, Page 7

THE WEEK'S RADIO N.Z. Actor In B.B. C.'s “The Country Wife"

“The Country Wife." William Wycherley’s third play, was one of the plays presented by the 8.8. C. Third Programme to mark the tercentenary of the Restoration of King Charles 11. This witty play, which is definitely not for puritans, pictures the game of gallantry between rival teams of fashionable men and women.

In addition to Mr Horner., who may be called the hero, I eibeit an unconventional one. the men include Harcourt, in whom almost alone honourable feelings have any large influence, and at the other extreme Sparkish. fop. fool and slave to fashion. The women. led by Lady Fidget and Mrs Squeamish, have no more morals than the men. They merely have to avoid the strictures of the “cenrjrious world.” Into this heartless London of wit rnd - phistication. Pinchwife imprudently brings his pretty little new bride from the country. She proves herself an eager student of the fashionable ways of the town and a cunning conspirator when her surly, jealous husband gets in her way. Concerning Charles Lefeaux's bold, racy produc- * on of "The Country Wife.” which may be heard from the 5Cs at 7 p.m. on Saturday the critic. Frederick Laws wrote in the British “Listener:" “Plays of any cons derab’e length or age. or reoutation for imnronriety are normally broadcart only on the Third Programme: it raves them from being censored or trimmed down. But

it also means tha* some of the finest work produced in sot-nd radio is limited to a minority audience. The nroduction of Wycherley’s “The Country Wife” was superbly done and should be repeated ■with_ hullabaloo soon on other services.” The cart inchides the renowned Dame Edith Evans, the extremelv talented young actress, Joan Plowright, and the New Zealand actor. Clive RevilL

Clive Revill was educated st Rongotai College and Victoria University. Wellington. After touring with the CA S.. be was accepted for the Old Vic Theatre School and received a Government bursary. Since his arrival in London in 1950. he has played for two seasons with the Stratford-upon-Avon Shakespeare company, and was Trinciilo in ? production of “The Temncrt” in the Theatre Royal. Drury lane. He is now appearing in ‘lrma la Duce” on Broadway after taking part in the successful London production. *’l Lombardi”

Verdi’s opera. “I Lombardi alia Prima Crociata” 'The Lombards at the First Crusade), which will be broodcast by 3YC at 7 p.m. on Friday, was first produced in 1843. when the comboser was 30. It was his fourth opera, and like its predecessor. “Nabuccodonosor,” its subject had patriotic associations which roused Italian audiences to the greatest enthusiasm. even provoking enti-Austrian demonstrations. The music also contributed to this effect for it embodied national aspirations in its new qualities of virility and aggressiveness.

In recent years there has been a considerable revival of interest in Verdi’s early ooeras. with the realisation that, whatever their naivety and lack of subtlety, the essential Verdi is there. Whereas the early works of many other composers show the comnoser** personality emerging from someone else’s style, in Verdi’s early operas Ivs characteristic power, directness and intensity are already present It was his means of expressing these qualities that he developed so astonishingly during his long life. It is not surprising, therefore, that in the early

Verdi operas there are always enjoyable passages. often foreshadowing the latter masterpieces. In ‘‘l Lombardi,” for instance, there is a trio, “Qual volutta trascorrere." which looks forward to the finale of “La Forza del Destino.” although it differ? in that it ha? a long, elaborate introduction for solo violin which seems to assume almost concerto proportions. Perhaps the best known number in the opera is the chorus. “O Signore, dal tetto.” which has been freouently coupled on records with the famous Hebrew slaves’ chorus from “Nabhcco." The performance to be heard on Friday was recorded in 1951. the 50th anniversary of Verdi's death, when Radio Italians sponsored performances of all Verdi's operas. The cast includes Maria Vitale 'soprano). Gustavo Gallo 'tenor), and Mario Petri 'bass). Manno Wolf-Ferrari conducts the Chorus and Orchestra of Radio Italians. N.Z. Plat

David Yerex. whose play. “The Breaker-cut" will be heard from 3YA at 7 30 tonig.at. is a young Wellington author who has already had two plays broadcast bv the N.ZJ3.S. 'Ten Green Feethers” and "Ten Feet at Midnight.” Like them. “The Bre-:ke’'-ouf is set in New Zealand. It is a storv of teen-age frustrations. Peter

Catley. the eon of the Manager of Forestry Developments. joins a forestry garjg. He comes ur.-ter the influence of Eddie Barrett a rolling stone. When Eddie is susoectc-d of sheep-steeling and worse. Peter starts a fi _ e to ccrceal the evidence. When, however. Eddie, going on the run. refuses to take Peter with him. Peter throws the blame on Eddie, and decides to fight the world on his own terms. In this N.Z.B.S. production Alan Jervis is heard ps Peter and Tim Eliott as Eddie. Flemish Mass

The fourth broadcast in the medieval socred music series recorded at last year’s Aldeburgh Festival features the Missa Mi-Mi by the Flemish composer. Johannes Orkeg-hc-m. The name of the Mass, which will be heard from 3YC at 9 p.m. on Monday, comes the falling fifth from E to A at the beginning E is the third note, or mi. m the hexachord. C. D. E. F. G. A. and A is mi in the hexachord F. G. A. B-flat, C. D. Ockeghem was renowned as a teacher as well as a composer, including among his pupils J-osquin des Pres and Pierre de la Rue. who in their turn passed on to the younger composers of the Renaissance that ideal of “Ir.rity they had learned from him. The performance of the Missa Mi-Mi is by the Deller Consort, led by the famous counter-tenor. Alfred Deller.