Southern Ballet

Press, 24 September 1983, Page 8

Southern Ballet

“The Unicorn, the Gorgon and the Manticore” presented by the Southern Ballet, the Christchurch Harmonic Chorale and the Amici Chamber Orchestra, conducted by John Pattinson at the Great Hall, September 23 and 24. Running Time: 1 hour 50 minutes. Reviewed by Philip Norman. Three beasts of mythology brought three Christchurch performing societies together for a happy wedding of talents at the Great Hall last evening. The occasion was a performance of Menotti’s madrigal ballet, “The Unicorn, the Gorgon and the Manticore,” preluded by a bracket of works from the notorious school of Parisien eccentrics.,

As a package, the programme was one. of the most adventurous and intriguing devised, in recent times in Christchurch. Much of the credit for this must lie with John Pattinson, conductor for the evening and musical director of both the Harmonic Chorale and the Amici Chamber Orchestra.

For starters, the Amici Orchestra tip-toed through

Satie’s “Trois Petites Pieces Montees.” This was unfortunate, for Satie needs to be performed with conviction. Much of the charm of the music is its hesitancy; played hesitantly, though, much of this effect is countered.

Vigour was the key word in the orchestra’s performance of Milhaud’s Agricoles”; vigour by the bucketful that threatened to swamp the sound of the soloist, Judy Bellingham. Oddly, this imbalance felt exactly right for the song cycle. The singer is established as just another cog in the cacophonous machine, intoning a text culled from various advertising brochures , on once-modem farm machinery. The orchestra certainly has Ibert’s “Divertissemenr under its belt now — loud, brash and vulgar work that it is. Still, it makes an excellent party piece, the cutting edge of its wit is not blunted by repeated hearings, and the orchestra whips up a compelling enthusiasm in its performance. ' ■' ''

The lion’s share of the music in Menotti’s ballet is taken by the choir, in 12 long and mainly unaccompanied madrigal-like sections in the work. The Harmonic Chorale did well to keep the pitch reasonably secure and the rhythms generally tight throughout their sustained task. In the resonance of the Great Hall, diction was a problem, but by way of compensation, the sound of the Chorale was rich and full. The dancers of the Southern Ballet, headed by David Peake in the central role, wove the satirical tale well, and despite the symmetrical repetition of the plot drew fresh images with the passing of each sequence. The ballet was in essence fully staged, with the very spare setting and lighting offset by sumptuous, mainly white, costumes by Marjorie Cairns and expressive masks by Don McAra. Choreography was by David Peake.

The programme will be repeated this evening in the Great Hall.