N.Z. singer specialises in Scarlatti

Press, 29 June 1981, Page 14

N.Z. singer specialises in Scarlatti

Classical records review

ALLAN FRANCIS

PATRICIA LAWREY — mezzo soprano sings music by Vivaldi and Scarlatti. Cantata Pastorale; Al Santo Sepolcro; Nisi Dominus with the NZ Schola Musica directed by Ashley Heenan. Kiwi Pacific Records SLD--52.

Patricia Lawrey singing Scarlatti — her specialist composer — is the type of record you take with vou to buy a new hifi. Her affinity for Scalatti is evident in this showcase of the Cantata Pastorale and the high standard of her supporting chamber ensemble, not too far removed from the ECO, all combine to make this one of the top records of the year in New Zealand.

Miss Lawrey has previously sung Mahler and Mozart with admirable results and Sir David Willcocks has

rightly praised her efforts, but' it is in the area of Vivaldi and Scarlatti where she scores so heavily. Her rich voice is beautifully captured by the craftsmanlike skill and care from Kiwi who are renowmed for their fine reproduction. As usual, texts are included.

VIV ALDI/PUR CELL/ BIBER. The Baroque Players conducted by P. Walls plays Concerto for Two Violins Cello and Strings in D minor, “Battalia” for Strings and Bass Continuo. Concertos Tipieno in C major and for Four Violins in E minor. Incidental Music from the Fairy Queen. Kiwi Pacific Records TRL 006. Of all the multitude of baroque recordings available in the present surge of inter-

est in that era the homegrown product from Kiwi is as good as many and possibly better than most.

A classic combination of six violins, two violas, two cellos, two harpsicords and doublebass lends richness to the works of Vivaldi, Purcell and the lesser recorded Biber. The ear-catching one of course, is the particularly attractive Concerto for Two Violins by Vivaldi, followed by the militant Biber who puts war to music, as did Jannequin and Byrd before him.

Purcell’s Fairy Queen has the added advantage of French influence and the Baroque Players give added sheen to the piece with their fine'playing and sympathetic recorded sound from Kiwi. All told, there are three contributions from Vivaldi.

covering his early, mid and late periods, the Concerto for Four Violins being an excellent example of his mature composition. Comprehensive notes from Peter Wall and the customary silken sound from Kiwi en'gineeers make this an attractive buy.

VISIONS by the Auckland Dorian Choir — various New Zealand composers — conducted by Peter Godfrey on Kiwi Pacific Records SLD 56.

This is the third recoridng of the Dorian Choir singing works listed as “old” (1918) and “new” (1950) and is possibly their finest. Following the successful Five Centuries of Sacred Music on SLD 36 and Bluebird -on SLC 145 this one explores the works of such NZ composers as Jack Body (Carol to St Stephen), David Griffiths (Salve Regina), Douglas Mews (May Magnificat), John Rimmer (Visions 1) and in the style of William Byrd the Gillian Whitehead Missa Brevis. The choir dates back to 1936 and specialises in contemporary choral music with up to about 60 voices, having won the BBC’s International Choral competition in 1972 and having taken part in the Aldeburgh Festival in 1975.

The works under review are interesting out it is the harmony of the choir which is fascinating.

Here we have a breakthrough with New Zealand composition plus a standard of singing which would not be out of place in world class company. The treatment is senstive and again the recorded sound leaves nothing to be desired.

Another highly recommended Kiwi release.

SCHUBERT — Die Winterreise. Noel Mangin, bass with Donald Bowick, piano on Kiwi Pacific SLD 49. As a result of the deletion of Hans Hotter’s recording of the cycle the field has been left comparatively open for singers in the lower register and Noel Mangin more than adequately fills the gap with his rich, dark bass voice, at times reminiscent of Hotter but essentially a fine interpreter in his own right. Added to this, the recording has been achieved, without cuts, onto one disc, without any adverse effects to quality or the recording level. The full resonance of voice and piano has been preserved with delicious fidelity and full texts included.

Ten years with the Hamburg State Opera have left their mark on Mangin’s technique as his skill now outshines that of his fellow New Zealander bass singers, Oscar Natzke and Donald Maclntyre. This recording stamps him as the leading bass voice, past or present, to have originated in this country. It is an introspective reading. An excellent adjunct to the 1962 Fischer-Dieskau, and Donald Bowick compares favourably with Gerald Moore. Highly recommended.