Visiting Soloist Praises Christchurch Choirs

Press, Volume CI, Issue 30007, 17 December 1962, Page 2

Visiting Soloist Praises Christchurch Choirs

The “fantastic” choral work at present being done in Christchurch has “completely thrilled” Miss Elizabeth Hellawell, soprano soloist in the Christchurch Harmonic Society ’s presentation of “Messiah.”

A member of the New Zealand Opera Company since her return to Auckland two years ago from five years’ study in the United Kingdom and Germany, Miss Hellawell is well known throughout New Zealand for her performances in operas, oratorios, and concerts.

In those two years Miss Hellawell has sung leading roles in '‘Madame Butterfly,” “Tosca,” ‘The Marriage of Figaro,” and “Carmen,” appeared in music festivals, subscription and promenade concerts with the National Orchestra throughout the Dominion, and in "Messiah” and “Elijah” in several main centres.

Last week’s visit was her third to Christchurch to sing as soloist with the Christchurch Harmonic Society; last December Miss Hellawell sang in Bach’s "Christmas Oratorio” and last winter in verdi s “Requiem.”

In an interview before her evening performance on Saturday, Mea Hellawell said ■he believed the standard •nd extent of choral music in the criy were qirite out- ■ Landing. After having seen so much of what was being done in other parts of New Zealand, •he wondered whether Christchurch people were t-illy aware at the achievements of their choirs. With so many fine musician* and the recent orchestral developments Christchurch musical life was really stimulating. “I Just love corang to Christchurch,” she said. Singing in “Messiah,” one

of her favourite works, was • wonderful experience with the Christchurch choir. “I’m dying for Auckland people to hear them when they go up there to sing next year,” she said. "They would compare with any choir I ever heard in England.” From whet she knew of the Royal Christchurch Musical Society this would appear to be equally true, said Miss Hellawell. Generally to be involved in music-making in New Zealand at this time was in itself an experience, she said. After returning from her overseas trip it had been most impressive to see just how much was happening in •11 branches of music. "People are not just talking about what should be done, but actually doing •omethmg about it,” she said. Everywhere New Zealanders seemed to be enthlsiasiically trying to improve standards and intensely interested in what was going on elsewhere.

Although recently she had been “fairly tied up” in opera, she hoped to give more attention to concerts •nd to oratorio. After her year in Germany she had

realised how much more there was to explore and learn about in music. Living there, one felt oneself really in the heart of music, she said. In London, when she was attending what is now known as the Natisnal School of

Opera, had come her first introduction to another form of music, intimate opera, which she had not had much opportunity to keep up since. Plans for returning overseas for more study and experience were little more than shadowy at present. Miss Hellawell said. The path of any would-be opera singer was hard, often disillusioning, and timeoonsuming, Miss Hellawell said. Her other interests in reading, sport, piano music, and jazz did not find much place in her tight yearly schedule and had to be discarded or fitted in carefully between the continuous packing, travelling, and singing. But somehow, Miss Hellawell said, she had become reconciled to the life. "After all, music is my whole life,” she said.