Another Audience Enjoys The Proms

Press, Volume CVIII, Issue 31597, 7 February 1968, Page 14

Another Audience Enjoys The Proms

Another very large audience greeted Mr Arthur Fiedler and the N.Z.B.C. Symphony Orchestra at the Proms Concert in Canterbury Court last evening. Prolonged and enthusiastic applause clearly showed that Mr Fiedler has made a place for himself in the estimation of Christchurch audiences who like the fare he offers.

This programme ppened quietly with the gentle sounds of the introduction to Weber’s "Oberon” overture. The short lively section which followed was played with gripping precision and happy effervescence. Warm timbres from solo instruments created a rich and romantic atmosphere and then, with flashing excitement, the full panoply of this charming overture was unfolded in playing of admirably clear texture. Respighi’s “Pines of Rome” opened with plangent sounds played with exhilarating expertise. Lovely sonorities followed, giving a feeling of peace and of the gentle touch of past ages mellowed by the Roman landscape. This music conveys interesting interplay of sunshine and shadow, and it was interpreted with fine sensibility. The little bird-call was charmingly captivating. Massive grandeur was imposingly built up at the end.

Gerda Pons, who has a soprano voice of clearly carrying and most attractive quality, sang Mozart’s “Vol che Sapete” and an aria from “Der Freischutz” with interesting variety of timbres, all aptly suited to the dramatic demands of each moment. Her work showed admirable security of technique. In three of Grieg’s songs we encountered one of the hazards of the hall: the intrusion of a persistent train whistle. However, there was a meltingly lovely atmosphere of nostalgia in “The Last Spring” and the even quality of the low notes in Gerda Pons’s voice was fully appreciated. Solvieg’s Cradle Song was sung with richness, and the warm and embracing tone

of "I Love Thee” was charming to hear.- In this singing it was a pleasure to note the perfect clarity that can come only from a line of vowels firmly established on strong muscular command of the breath and on forward placing of the voice.

The orchestra played the Waltzes from “Rosenkavalier” with sparkling timbre: but a suite from "The Sound of Music” was rather disappointing. The orchestration was full and the arrangement did not seem to allow the individuality of each song to become established. The programme ended with “Wedding Dance” by Press—a short and fiery work well-knit in construction and in orchestration. As is usual the encore numbers were of the light, bright, and breezy genre: “Tiajuana Taxi” needs a re-bore, and "Cabaret” sounds like one of those joints out of which it would be a pleasure to be thrown. —C.F.B.