“THE MESSIAH”

Dominion, Volume 22, Issue 71, 17 December 1928, Page 13

“THE MESSIAH”

CHORAL UNION’S SPLENDID PERFORMANCE

The Royal Wellington Choral Union's performance of "The Messiah” at the Town Hall on Saturday night was a great triumph for the conductor (Mr. John Bishop), the chorus, and the orchestra. Had it been possible to have calibrated the cast of the principals to the same high standard of excellence the performance would indeed have been a notable one. Even as it was, however, there will be many who heard this latest presentation of the oratorio by the Choral Union who will cordially agree that on this occasion the society certainly excelled itself.

Mr. Bishop’s interpretation of the work revealed an interesting departure from convention. This is in line with the tendency of modern conductors to reject the bondage of traditional form and so enjoy the freedom of exploiting the possibilities of oratorio music in accordance with their own ideas. It may be argued that such liberties might detract from the traditional purity of the work. It must be remembered, however, that the times, the conditions, the whole atmosphere, in fact, of music and of musical interpretation, have changed. This is specially the case with the oratorio, which can now only be rescued from oblivion by removing from its presentation the dullness of conventional form, and invigorating and emphasising its dramatic moments. In a. sense, sacred music is experiencing with slowly changing public sentiment somewhat similar vicissitudes as those which to-day are of serious moment to the pulpit. Each is finding, as a necessary condition of restored strength and popularity, that it must adapt itself to modern ideas.

Such were the thoughts that impressed themselves upon one’s mind while listening on Saturday to a performance that held the attention throughout. From the first bar of the introduction to the last great “Amen,” one had the feeling of hitherto unrevealed possibilities in the treatment of the oratorio. The work of the chorus was so consistently good that it is really difficult to say in what particular number they excelled. Notable successes that thrilled by their dramatic quality were “O Thou That Tellest,” “For Unto Us a Child is Born,” “Surely He Hath Borne Our Griefs,” the lovely Adagio movement in “All We Like Sheep, and the splendid chorus, “Worthy is the Lamb,” which, with the addition of the last two bars of the “Amen” chorus, concluded the performance. With the exception of Miss Christian Ormison, of Auckland, the soprano soloist, all the principals were familiar to Wellington oratorio audiences. Miss Ormiston is young, and appeared a little nervous and inexperienced In oratorio work. Her singing of “Rejoice Greatly” was not up to the dramatic demands of this declamatory number, but in “Come Unto Me” she revealed vocal qualities of great promise. Her voice has that quality of sweetness and purity that makes for effective singing in oratorio, and with careful development of interpretative powers should be a valuable asset for future oratorio performances. Miss Mina Caldow, as always, sang her contralto recitatives and arias with that artistic power which nuikes her one of our best oratorio contraltos. Her best number undoubtedly was “He Shall Feed His Flock,” for which she was heartily applauded.

Mr. Hubert Carter, the tenor, was most effective in the numbers, “But Thou Didst not Leave His Soul m Hell,” and “Thou Shalt Break Them.” His opening number, “Comfort Ye,” wits marred by a curious trick .of enunciation which converted “Comfort” into “Comafort.” Mr. William Watters, the baritone, was conscientious and thorough. One would have liked to have heard the fine dramatic possibilities of “The People that Walked in Darkness” more vitally exploited. The tour de force of the baritone role in “The Messiah,” “Why do the Nations,” however, was capably sung, with satisfying declamatory fire. ‘ The work of the orchestra was particularly good and effective, and demonstrates quite convincingly that when the right inspiration is provided there need be no lack of orchestral players to make up the requisite strength and quality for a satisfying performance. Mr. Bishop undoubtedly has that within him which attracts musicians to his baton. One hopes to see in the future frequent occasions for orchestral numbers as part of Choral Union programmes.