Fine university concert

Press, Volume CXII, Issue 32959, 4 July 1972, Page 11

Fine university concert

A large audience in the University Hall on Sunday evening heard a programme in the university concert series in which the performance throughout was of a very high order. The generating influences (which moulded the entire programme were the superb singing of the English soprano, April Cantelo, the strong, appropriately stylish pianoforte playing of Lucy Greene, and over all. the fine shaping and interpreting of all items by the conductor, John Ritchie.

The University of Canterbury Chamber Orchestra, led by Marjorie Sutton, played at a most impressive level throughout, both as an accompanying medium and in its own contribution. Handel’s Concerto Grosso in B flat, opus 6, No. 7, which began the programme, set the seal of success on the concert with unanimity of (attack and bowing. Well-

judged tempi, nuances appropriate to the period, and imaginative harpsichord continue support ensured authenticity of style.

Bach’s Klavier Concerto in D minor was uneven in performance, mainly because of disagreements, in tempi between the soloist and orchestra, resulting in a nervous final movement. The solo part played by Lucy Greene received a determined performance, with a sensitively controlled interpretation of the decorative melodic line in the second movement. The first half of the programme ended with a bracket of five Italian operatic arias by the sixteenth century composers, Monteverdi and Cavalli. Each aria was a masterpiece of composition and received corresponding performance from Miss Cantelo accompanied by the orchestra. It was easy to forget that these songs were 400 years old, for each had a freshness of expression immediately appreciated.

Ranging in mood from the cynicism of love’s dealings to the tragedy of death, one was left with an awareness of the vocal repertoire that should be heard more frequently. The final song in this bracket contained some advanced orchestral writing for its time and surprisingly dissonant passages for solo strings. The continue parts supporting passages of recitative declamation received most stylish performances from Francis de Goldi (cello) and John Jennings (harpsichord). The second half of the programme comprised one work—Dies Natalis (cantata for soprano and string orchestra) by Gerald Finzi. It would be an injustice to the performance to indulge in excessive superlatives. With April Cantelo again displaying all the attributes of the great artist, and wonderfully ’supported by the orchestra, [the performance brought to la close a most satisfying (musical experience.—W.R.H.