Recital By Inia Te Wiata

Press, Volume CVIII, Issue 31783, 13 September 1968, Page 16

Recital By Inia Te Wiata

The Civic Theatre was crowded last evening for a recital from Inia Te Wiata, arranged by the Royal Christchurch Musical Society, which also sang Randall Thompson's cantata, “The Peaceable Kingdom,” during the first part of the programme. Inia Te Wiata, sang operatic arias, beginning with the "Slander Song” from Rossini’s “Barber of Seville," followed by “The Power of Love” from “Eugene Onegin” by Tchaikovsky, which showed the singer’s many virtues as an operatic and concert artist. It was a joy to hear again his fine quality of voice in smooth unforced flow, and even in production, through its impressive range—vibrant and rich in varied tonal colours, and capable of bringing to the music a high-lighting of dramatic fervour or tenderness, with both sincerity and conviction. Every Syllable Clear

Inia Te Wiata is able to make every syllable he sings perfectly clear in every part of the theatre—as Peter Dawson did so splendidly. There is much in common between them.

In his interpretations and through his stage manner, Inia Te Wiata again showed himself to his fellow-countrymen

as “a most happy fella” indeed, and one in whose bright career they are glad to take pride. The quality of his voice was heard at its smooth best in “0 Star of Eve,” and in “She Alone Charmeth My Sadness,” in the early part of the programme. He then gave us a superb performance of Handel's “O Ruddier than the Cherry,” in which steadiness of voice, expression, phrasing, and rhythmic vitality were all of the highest stylistic standard.

“Sunshine Quality” Beautiful legato style and richness of timbre were heard in a moving performance of “O Isis and Osiris.” in which the men of the Royal Christchurch Musical Society, effectively joined. The sunshine quality of voice was apparent also in the excellent performance of “Within These Sacred Bowers”—another aria from Mozart’s “Magic Flute.” Mr Maurice Till’s playing of the accompaniments was, as it always is, a sheer delight in every poised phrase. What he gives in performance after performance, with artists from many parts of the world and with local soloists and groups, is always of immaculate finish. We must not forget how lucky we are to have one who upholds sueh a grand standard The Royal Christchurch Musical Society, conducted by Mr R. Field-Dodgson, gave just as impressive a performance of “The Peaceable Kingdom” as was given at a subscription concert earlier in the year. Precision, clarity, expression, and dramatic use of tonal changes were all of splendid order, and used In the highest service of both words and music. The varying atmospheres of the work were all most skilfully captured and sustained in this

very heart-searching performance. In the second part of the programme, Inia Te Wiata sang lighter works—" Myself When Young,” “The Song of India," and the "Cobbler’s Song”—and followed these with some Negro spirituals and Maori songs, all of which he does extremely well, both in vocal technique and in vibrant presentation to an

audience. Everybody feels that he has had a part in a song sung by Inia Te Wiata. Inia Te Wiata will be heard again in the New Zealand Opera Company’s production of Mozart’s “11 Seraglio” later in the month. If the tumultuous welcome he received at last evening’s concert is a guide, the public should flock to hear him. —C.F.B.