Harmonic Society Solo Programme

Press, Volume CIX, Issue 32232, 26 February 1970, Page 12

Harmonic Society Solo Programme

Last evening the Christ-1 church Harmonic Society presented a solo recital by Heather Taylor (soprano), Anthea Moller (mezzo-soprano), Anson Austin (tenor) and Rodney Macann (bass), accompanied by William Hawkey (piano). The four singers are well known to Christchurch audiences for their solo appearances with local choral societies and orchestras, and for their par-

tiepation in programmes organised by local musical organisations. The foreword to the programme expressed the hope that this kind of concert might become a regular feature of the society’s concert series. Every effort was made to make this recital a success, by using experienced soloists and by providing a well-designed programme. The first half of the programme gave each artist an opportunity to sing a group of solo songs. These were carefully chosen and included arias and lieder by Purcell, Bach, Mozart, Schubert, Berlioz and Webern. The easy manner of all the performers c ,\vd the many difficulties of interpretation in this music. Meticulous attention to details of phrasing and each artist’s keen sense of the essential spirit of the music was most impressive Their clear feeling for style in all they performed was the most exciting feature. Although the mainstay of the first half was the “Eight Early Songs” by Webern (sung by Anthea Moller), the other selections of shorter pieces all had a more sub stantial work as a focal point. Purcell’s “The Blessed Virgin’s Expostulation” (Heather Taylor). Mozart’s “Abendempfindung” (Anson Austin) and Schubert’s “Erlkonig” were wellchosen and gave the singers an opportunity to display their dramatic sense. During the second half of the programme, the artists took part in arias, duets, trios and quartets from nine-teenth-century opera. At the centre stood four excerpts from Beethoven’s “Fidelio” and three excerpts from Puccini's “La Boheme,” preceded by duets by Bizet and Mozart and followed by the quartet “Un, Di se ben rammentomi” from “Rigoletto” by Verdi. Through all these works the audience was treated to an excellent display of ensemble singing. Every artist showed a sensitive understanding of this type of work, taking part in the spirit of each item and acting each part as much as a concert performance would allow. William Hawkey, the accompanist for all items, must be regarded as a most important part of each ensemble. His was a rather thankless task but he provided the necessary support with good taste and a feeling for style. He applied considerable imagination to the awkward piano reductions of opera accompaniments which were provided for the second half. —J.M.J.