Splendid Singing By Society’s Choir

Press, Volume CVI, Issue 31120, 25 July 1966, Page 14

Splendid Singing By Society’s Choir

The Royal Christchurch Musical Society, conducted by Mr R. Field-Dodgson, gave a praiseworthy concert in the Civic Theatre on Saturday evening. All the work had been meticulously prepared and was performed with finesse and artistic judgment

The programme began with a spirited and stylish performance of Haydn’s Te Deum, a work whose attraction is immediate and sustained. This bright and joyous music was sung with strong and well-controlled tone and with stirring rhythmic vitality. The choir was in splendid voice, giving unquestioned clarity of line/with attractive variety of timbre. Against an accompaniment of fairly light texture provided with distinction by the Christchurch Civic Orchestra, the balance of all the forces was

very good indeed and seemed to offer few problems. This was followed by Haydn’s Imperial Mass in which the soloists were Jean Williams, Ngaire Johnston, Richard Greager and John Fisher. These singers gave a pleasing blend in ensemble work.

Most of the solo work was done . by Jean Williams whose soprano voice had excellent ring and clarity, with well-formed vowel sounds strongly supported and of admirable steadiness. There was brilliance without forcing and a wide range of expressive control. Her rhythm was confident and she sang with understanding of the requisite style. Richard Greager did all that was required of him with ease of production and attractive tonal quality. Ngaire Johnston’s voice was somewhat muffled at times and needed a stronger and more forward production. John Fisher’s timbre was well suited to the work and he sang confidently and with dramatic effect.

Both the choir and the orchestra gave performances of high standard with excellent phrasing, grading of expression, and tonal quality. Rhythm was direct and gave vivid life, and the dramatic and apt changes of colour and expression were thrilling. The programme ended with Vaughan Williams’s setting of “Dona Nobis Pacern,” a work of deep and heart-rending emotion. It was written when the lowering clouds of Nazi aggression presaged the coming of war and, as expected, is packed with tearing dissonances expressing terror, grief, bereavement, funeral panoply, devastation, and finally hope and courage reborn. It is not surprising that some difficulties in intonation were found by choir, orchestra and soloists, but they did not detract too seriously from the most telling impact made by a most worthy! performance. With such a full and often highly-pitched accompaniment there were many difficulties in establishing balance, but the choir came through very well indeed with movingly beautiful effects and well achieved dramatic force.

The “Dirge for Two Veterans” was particularly impressive, and began with a stark orchestral introduction leading to an effectively hushed chorus work which built up in blazing fashion as a funeral procession passed by, and then returned to its tragic mutterings at the end. The change in spirit which came with the words “Nation shall not lift up a sword against nation,” and led on to the triumph of “Glory to God” and the final dying away of wispy sounds in the final prayer, “Dona Nobis Pacem,” was magnificently brought out. The choir had not only mastered the difficulties of notation, but also kept a firm grip on all the rhythmical complexities of the work in most praiseworthy style. There was unanimous following of all Mr Field-Dodgson’s artistic and subtle points of insight which gave such a strong degree of unity to the performance. The orchestra, too, responded with close attention and gave splendid colour as well as well-

grounded foundation. It is a most complex score and the players handled it with commendable skill. Jean Williams’s work was not as impressive here as in the Haydn. She used halfvoice singing without the necessary foundation to be sure of maintaining steadiness of tone and carrying quality. John Fisher had frequent lapses from true intonation, but both singers showed sympathetic understanding and feeling for the message of the words.” C.F.B.