PROFESSIONAL ORCHESTRA

Evening Post, Volume XCVIII, Issue 125, 24 November 1919, Page 8

PROFESSIONAL ORCHESTRA

The final programme of the-1919 season submitted by the Wellington Professional Orchestral Society at His Majesty's Theatre last evening was a fitting crown to a year's good work. Of the greater composers' works the selection made last night included the majestical introduction to Act 111 of -"Lohengrin," and the overture to the "Flying Dutchman" (Wagner), the overture to "Fingal's Cave" (Mendelssohn), the prelude to "La Traviata" (Verdi), and a "Faust" fantasia (Gounod), the other numbers being the magnificent "Valse Triste" (Sibelius), and Fatignol's "Plume 'au Vent" (Feather in the Breeze). To many the overture to "The Flying Dutchman" is the finest ofvall overtures, and under the direction of Mr. H. Moschini the orchestra handled the great theme with a very fair measure of success. Wagner was led to writing the "Flying Dutchman" after reading Heine's legend of the unhappy mariner, who, after trying long in vain to pass the Cape of Good Hope, had sworn that he would not desist if he had to sail on the ocean to eternity. To punish his blasphemy he is doomed to the fate of the Wandering Jew, his only . hope of salvation lying in his release through the devotion unto death of a woman. The overture is a complete miniature drama, embodying the events of the opera to follow. Driven by the gale the Phantom Ship approaches the shore, while amid the fury of the tempest is heard the theme of the curse (given out by the horns). The storm increases, and reaches its height in a wonderful piece of writing. ( No composer ever succeeded in portraying a raging storm with such vivid effect. Amid a hill in the tempest we hear the complaint of the Dutchman from the great aria in the first act, "My grave—l find it not." A gleam of hope appears in the Redemption theme, and a.joyous strain is heard from the sailors on Daland's ship, which is safe in the harbour. Equally' successful was the orchestra's interpretation of the selection from "Lohengrin," in which tho major work falls on the basses. The Mendelssohn number falls chiefly to the springs. As does, also, the prelude to "La > Traviata." The fantasia from "Faust" is ever a popular number, and this was handled with much success. The "Valse Triste," until a season or so ago an almost unknown (Composition, is now rightly included in many orchestral concerts, for it is invariably an attractive number. "Plume au Vent," is a dainty little piece of much charm. Wellington owes a very great debt of gratitude ' to Mr. Moschini, and the members of ;the Professional Orchestra for their work during the past'season.