“ELIJAH” IN NOVEL FORM

Dominion, Volume 32, Issue 250, 20 July 1939, Page 6

“ELIJAH” IN NOVEL FORM

Dramatic Spectacle

Though Mendelssohn’s “Elijah,” second only in world favour to Handel’s “Messiah,” has long been considered a work that lends itself to dramatic treatment —the score being instinct with action—this oratorio has, up till recent years, been considered only for performance within the severe limits of the concert platform. Last Saturday week Sydney broke that tradition —already broken in England—by producing Mendelssohn’s fine work as a dramatic spectacle at the Conservatorium of Music, Sydney, the producers being Mr. Humphrey Bishop (well known in New Zealand), and Miss Guenda Bainton, whose costumes and scenery were invested with balance and dignity (according to the “Sydney Morning Herald”). It was Mr.'Bishop who was responsible for the theatrical part of the production, the movements of the characters and the grouping of the chorus. The ballet was prepared by Miss Estelle Anderson, though the size of the stage limited its activities. One critic said that the music suffered somewhat through the incidence of production, notably the great “Baal” and the rainstorm passage were shorn, of much of their majesty, nor, it was said, was the spoken dialogue an adequate substitute for some of the arias and choruses. The performance was conducted by Mr. G. Vern Barnett. Mr. Raymond Beatty (who, it is understood, is to visit New Zealand next summer) sang the music of the title role effectively, and Miss Heather Kinnaird sang the contralto solos. Godfrey Sterling (here with the last Gil-bert-Sullivan Company) sang the tenor line with ease and polish, and Miss Isolde Hill (daughter of New Zealand’s own Mr. Alfred Hill) was the widow and the Israelitish woman, and Mr. Stan Buddle was King Ahab. Three performances in all were given of “Elijah.”