Moving Performance Of Passion Music

Press, Volume CII, Issue 30095, 1 April 1963, Page 17

Moving Performance Of Passion Music

The Royal Christchurch Musical Society, conducted by Mr R. Field-Dodgson, gave its annual performance of Bach’s

"St. Matthew Passion” in the Civic Theatre on Saturday evening. The accompaniment was very ably played by the John Ritchie String Orchestra, augmented by some woodwind players. The choir was in excellent form and sang with welb preserved balance at all levels of expression, and there seemed to be good cohesion in tonal colourings between the various voices. Clarity of words was admirable, and there was sensitive response to the conductor’s expressive requirements. The balance between the orchestra and the choir was such that the subtleties of playing and of singing came through always quite clearly and naturally. The interpretation was reverent and sincere, with beautifully soft singing in the chorales and in the mediative choruses. Mr FieldDodgson chose fitting tempi so that there was rhythmic liveliness in the slow and sustained singing. With very soft singing, when the Civic Theatre is filled, care needs to be taken that tone should keep its vitality. What can sound splendid in a rehearsal room, or in the theatre when empty, can be somewhat blanketed when there is extra absorption of sound. It would not be apparent on the stage itself AU the little chorus interpolations were sung with flnese and confidence, and when big massive sounds were required they came through with grand effect The texture of the contrapuntal singing was very good, and the individual parts came through with a fine clarity Th great crescendo in “Truly This Man Was The Son Of God” was magnificently brought out. The choir captured the mood of each chorus with experienced skill, and its work throughout was convincing and often deeply moving.

For a performance of the “St. Matthew Passion” to have its essential unity it would be necessary for the soloists to match in their work the atmosphere set by the choir and the orchestra: and the same technical skill, tonal qualities, and interpretative subtlety would be required. That such a standard was not always attained by the soloists is not surprising. for there are not many places in the world where an adequate panel of soloists can be gathered together for a performance of this work. Charles Naylor sang the part of the Christ with sincerity, tenderness, and nobility. The quality of his voice its pleasing, is even throughout its range, and is of a type eminently suitable for this music. However, constant vowel distortion is an irritation which detracts from the pleasure he gives by his convincing insight of interpretation.

Stephen Elsom, who was singing the part of the Evangelist for the first time, is to be congratulated on the excellence of his preparation of this formidably difficult music. He was thoroughly accurate in rhythm and in notation, and his words were always perfectly clear. His interpretation was sincerely felt and, in that, it was convincing. He now will need to give more attention to the quality of the sounds he makes. More tonal colouring is needed, for his singing had a disembodied effect. While an over-playing of the

part erf the Evangelist would be horrid, nevertheless Mr Elsom seems to have gone rather too far in the opposite direction..

Anson Austin sang the tenor arias with a pleasing fullness of voice, clear phrasing, and well-sustained vocal line. Walter Robinson sang the bass arias adequately, but some vowel sounds need attention particularly the diphthong “i.” Both singers could have imbued their work with a little more dramatic fire.

Margaret. Jenkinson sang the soprano arias clearly and with careful phrasing. June Me. William, who was singing the contralto solos tor the first time, was accurate, but lacked sufficient power to complete success. However, she showed considerable feeling for the music. The voices blended pleasantly in the duet

Dr. Toovey’s work at the harpsichord was unfailingly interesting and artistic. His realisation of the music—of necessity improvisational—showed musicianship and close affinity with Bach's intentions. —C.F.B.