“THE MESSIAH”

Dominion, Volume 25, Issue 68, 14 December 1931, Page 12

“THE MESSIAH”

Royal Choral Union’s Performance GENERAL ACCLAIM Handel’s great oratorio “The. Messiah” was sung by the Royal Choral Union at the Town Hi 1 on Saturday evening for the thirty-sixth time, which speaks well for the endurance not only of this great choral work but of the union itself, which long ago became an integral part of Wellington’s musical being. There is perhaps no work of anything like the magnitude of “The Messiah,” which was written with such speed. The original score was composed in tw’enty-four days, a seemingly incredible feat even in these days of accelerated achievement, and, though the score afterward underwent some slight changes, there was no evidence of any lack of care. Perhaps it was a sign of the times that the audience was not so large as usual. That was a pity, as the performance was really a creditable one. Once more it revealed Mr John Bishop as an original interpreter of the score, notably in the splendid variation in colour he gives To the great chorales. Years ago these choruses were taken in fairly strict tempo, without much exercise of the license of the rubato, but Mr. Bishop took full advantage of the magnificent opportunities which offer in that respect and gave each number distinctive and effective treatment. Great vitality was given the chorus “O Thou that Tellest," while the marked change in the tempo in. the chorus “For Unto Us a Child is Born” giving tremendous majesty to the words “wonderful” and “Counsellor,” was quite thrilling “Behold the Lamb” was treated with remarkable impressment, and “Surely He Hath Borne” was given new life and meaning. The small choruses that prelude the end were given highly contrasted tempos, while the great choruses, such as “Glory to God,” “Lift Up Your Heads,” the “Hallelujah,” “Worthy is the Lamb,” and “Amen,” were all well sung, though the involved texture of the last-named chorus—it is , a long fugue—comes as an anti-climax after its triumphant predecessor For that reason it is, as often as not. cut out. but Mr. Bishop elected to retain it.

Better orchestral work has been heard in previous “Messiahs.” Possibly that was the reason why the organ was so freely and fully used upon occasions. The whole of the “grave” movement which marks the opening of the overture was marred by over-power-ful registration by the organist. Mr. Eric Frogatt. and frequently the soloists had cause to complain of the same thing. Nor was the beautiful “Pastoral Symphony” played with that essence of refinement which should characterise the muted music. - The principals were well selected. In two instances the artistry .ranked high. Miss Naomi Whalley, the Palmerston North soprano, who has sung the music on three previous occasions with the union, improves with ea’ih appearance. There was a luminais warmth and sweetness in tone and a finish in interpretation which made her work outstanding, notably in “Rejoice, Greatly,” the recitatives commencing “There were shepherds,” the aria “Come Unto Him,” and, perhaps most notable of all, “I Know that My Redeemer Liveth.” Another artist to achieve success was Mr. Harold Prescott, the Greymouth tenor, whose well tutored and vibrant voice always pleases, and whose musicianship gives him a fine security and artistic authority. He sang the opening airs “Comfort Ye” and “Every Valley” with quiet charm and In the spirit of reverence, and was vital in the recitative and air “He was Cut Off” and “But Thou Didst Not while he was dynamic in the final solo “Thou Shalt Break Them.” in which so many tenors fail. Miss Ruth Perry, of Masterton, made her debut in oratorio in Wellington, exhibiting an extremely good mezzocontralto voice of excellent quality, pleasing in timbre, and nicely produced. Though not altogether reposeful in places as to tempo and phrase. Miss Perry improved as the oratorio progressed. She sang “He Shall Feed His Flock” well, but was at her best in the great air “He was Despised.” Miss Perry has a good sense of oratorio, and should do well in the future. Mr. Ernest Short once more sang the baritone music. He is inclined to sacrifice refinement for big tone In places, and is not over-careful in his intonation in the many long runs, but his performance was vigorous and alive, and he sang “Why do the Nations?” very well indeed. The general acclaim which succeeded the final chords of the “Amen” chorus spoke volumes for the general appreciation of the performance as a whole and for the conducting of Mr. Bishop in particular. — /