University Operatic Society In “Venus And Adonis"

Press, Volume C, Issue 29535, 9 June 1961, Page 15

University Operatic Society In “Venus And Adonis"

The first of three performances of John Blow's “Venus and Adonis” to be given by the newly formed University of Canterbury Operatic Society was presented last evening in the Repertory Theatre. This in any case was an event of interest and importance to the city’s musical life, as it marks the beginning of a new venture of infinite possibilities. The choice of opera for this young group to begin with was undoubtedly shrewd and wise; and let it be said from the beginning that the evening was a distinct triumph for all those concerned from the producer downwards. “Venus and Adonis” was written in 1682, when some European countries had de- ' veloped opera into something of considerable dimensions. 1 Not so in England, however, where such entertainment was considered extravagant and generally non-British. English music drama of the time was built on a very modest scale, and “Venus and Adonis" gives us some idea of the kind of thing served up periodically for royal entertainment, except that this particular little opera is one of the finest specimens of pre-Purcellian opera. The set was artistically done, and gave an over-all impression of spaciousness and airiness, though some rather fussy furniture and shrubbery upstage might well have been supplanted. The costumes on the other hand were most attractive and eminently suitable, and contributed towards making the whole show a fine spectacle. They were designed by Jill Totty. However, it was, of course,

the music which dominated the evening, and we heard some very pleasant singing. Cupid, sung by Margaret Gordon, soon got into the swing of things and delighted us with her tiny but pure voice, and as time went on her acting and Peter-Panlike humour became more and more spontaneous. Venus, sung by Dian? Parsons. was a gracious and elegant perfbrtner both as actress and singer. She possesses a strong voice, which in time she should gain complete control of. Her most passionate utterances in the last act were most convincing. Adonis, sung by Robert Irwin, wa? particularly impressive, He possesses a rich baritone voice, capable Of well-controlled grades of expression. Mention must also be made of a compact little chorus of shepherds and shepherdesses (not nymphs) who sang the last chorus With particular skill and expression. The mischief and pranks of the little Cuipids prodded some effective light relief in the second act. The very essential contribution of dancing towards the opera’s‘effectiveness was greatly assisted by Grant Wright’s imaginative choreography, and by his own very accomplished dancing which lasted for all too short a time. The music was under the experienced and well-planned direction of John Ritchie, under whose sure guidance all the performers obviously felt complete confidence. The orchestra largely consisted of university players, with Maurice Till at the harpsichord, giving a most tasteful and sensitive rendering of ■the continue part. But particular and outstanding praise should go. to the producer, Mr Norman Hindley, who has set this project into action. His valuable combination of stage and musical experience should be of the greatest value towards operatic production here, and we hope that “Venus and Adonis” will forecast some interesting future attractions. —MKT.