Oratorio Performed In Parish Church

Press, Volume CVI, Issue 31205, 1 November 1966, Page 18

Oratorio Performed In Parish Church

As part of the centenary celebrations of the parish of St. Mary, Merivale, there was a performance of Handel’s oratorio, “Jephtha,” last evening in Hie parish church. The St Mary’s choir was augmented by the University Madrigal Stagers and the accompaniment was played by the John Ritchie String Orchestra with Mr Alan Hewson playing the continuo part on the organ. Professor Ritchie conducted the work, choosing tempi and keeping a strongly moving rhythm. The building offered nothing helpful in tonal quality to singers and players but did give every chance for clarity of detail, and in this all concerned are to be commended for their careful and able work particularly in their exemplary enunciation.

The part of Jephtha, the victorious general of the Israelite forces over the Ammonites, was sung by Mr Maurice Larsen who is indeed to be welcomed back to Christchurch for this occasion. His excellent lyric tenor quality of voice is remembered and has lost none of its beauty. In phrasing, nuance, rhythm and clarity he showed strong technical control and his reading of the part, both in recitatives and arias, showed command of style and musicianship. The even quality of his voice

throughout Its range was particularly pleasing. In the early part of the work, Jephtha, entreated by his brother Zebub (sung by Mr Winston Sharp with his customary skill) set out to give battle. His wife, Storge, felt forebodings of disaster—and well she might for Jephtha took a vow to sacrifice the first to meet him on his return if he should be victorious. His daughter, Iphis, hearing of his triumph, went out to meet him and thus caused no end of a pretty pickle. Jephtha’s grief and remorse for his rash vow, his daughter’s stoic acceptance of its consequences to herself, her lover’s offering of himself in her stead, and the appeals to Jephtha—especially in the excellent quartet —alt made intense and dramatic atmosphere which was cleverly and convincingly created by soloists and choir. All ended happily with Iphis vowed to the continual service of God in a state of celibacy. Mrs Heather Taylor sang the part of Iphis with delightfully flexible voice of charmingly clear quality. In the

love songs in the early parts of the work she had a springtime freshness of tone, in her joyous welcome to her father, and in resignation to her fate, she gave a performance that never flagged for an Instant. Mr Richard Greager, as her lover, Hamor, sang with a stirringly robust tenor voice of warm and sympathetic timbre and created credible character. Mrs Joan Howard sang with a firm contralto tone of admirable clarity and steadiness. In spite of her most unattractive name of “Storge,” which sounds like one of the less appetising breakfast cereals, she gave a poised and moving interpretation of her part, giving contrast to the foreboding nature of the early part of the work and the vivid realisation of her fears later. Mr Sharp's part was that of a rather bluff soldier, not offering the dramatic opportunities given to the others, but he kept the work alive with his contributions, which had the nature of narration and commentary, with poise and vigour. Allison Thomson overdid the ethereal nature of the Angel.

Rather more punch was needed for conviction, but she sang with beautiful tone and showed good promise. The choir was well balanced and sang with efficiency giving power to dramatic climaxes and rich ensemble tone with clearly melodic lines and expressive shadings. Their work was exact and well drilled.

Mr Hewson played the organ part with deft and tastefully chosen registration which gave adequate support and intriguing colour. The orchestra was well up to its customary excellent standard of proficiency and artistry. The whole performance was adventurous, well worthwhile, and in keeping with the parish’s celebrations. The work will be repeated this evening.—C.F.B.