St Matthew Passion well presented

Press, 3 April 1980, Page 4

St Matthew Passion well presented

By

C. FOSTER BROWNE

The Royal Christchurch Musical Society gave its annual performance of Bach’s St Matthew Passion in the Town Hall last evening. The Christchurch Symphony Orchestra, led by Pauline Smith, played the accompaniment, the harpsichord part was played by -Wallace Woodley, and Alison Edgar played the organ, A group of treble boys from St Andrew’s College, trained by Mr Clifton _ Cook, sang the ripieno parts in two of the choruses and joined in many of the chorales, singing with good attention and with pleasing tone. The parts of the Evangelist and of the Christus are the most demanding in voice and interpretation, and were sung exceedingly well by Kenneth Cornish and Bruce . Carson, both of whom have sung these roles several times. Mr Carson brought a fine baritone voice : and fitting dignity of, interpretation to his

reading of the part and his work was of customary high standard, not lacking in feeling yet quite free from any suspicion of sentimentality. Mr Cornish has the particular quality of tenor voice required for the Evangelist’s unfolding of the story and used it with full appreciation of each situation as the tragic story unfolded. He, too, brought drama, atmosphere, and continuity without falling from the high sense of dignity which he created so well.

Mr Robert Field-Dodgson must receive fullest commendation for the high standard. achieved in this performance.

His direction kept an admirable balance between that which had gone before and that which /was to come, bringing them fully into the present situation all the steps of . the way. Achieving this made formidable demands on his musicianship and on sensibility in dramatic, construction, so that there was al-

ways unity in interpretation among the thousand and one details which could mar it. Patricia Middleton’s singing of the soprano solos was always pleasing and frequently impressive. She has the requisite quality of sound and the flexibility of control needed for singing Bach’s music, and is a useful addition to the country’s soloists. She kept a steady control throughout the whole gamut of her work.

Judy Bellingham, a singer of great promise here, sang under the handicap of a heavy cold, but the holding back of full power gave her the relaxation which she has lacked in some recent performances. Her singing had a carrying quality and very lovely tone. Her voice carried excellently, and her rendition of her solos was of high artistry. Peter Williams sang the two tenor arias with good but rather too light a voice. His rhythm and clarity were good. Howard Harvey sang the small interpolated parts required by the continuity of the story with commendable clarity and quality of voice. After a somewhat shaky start the chorus work was delightfully performed by orchestra and choir. I cannot tell why the start of this work is so often spoiled by ragged and out of tune playing, but it is so and was again. For the rest of the evening the playing was good and the singing, always delightful, often rose to great heights. The chorales, as is Usual, were sung with melt= ing beauty,' and the greater choruses were sung with fire, and with subtlety of tone and of phrasing. The precision, snap, delicacy, and subtle use of expression were magnificent, creating the highest appreciation. . - It is regrettable that there was not d bigger audience, in, keeping with the quality of the performance. Paulene Smith, played the violin counter-melody in the aria, “Have 'mercy, jLord, on me” with artistic finesse and with very beautiful tonal quality. Obbligato, parts on obbe and flute were beautifully performed also.