ROYAL MALE CHOIR

Evening Star, Issue 19923, 20 July 1928, Page 4

ROYAL MALE CHOIR

FINE CONCERT PERFORMANCE All the essentials ot good choral singing—timing, phrasing, pitch, and quality—were embodied iu the concert performance of Ihe Royal Dunedin Male Choir iu His .Majesty’s Theatre last evening. With Dr V. E. Galway' conducting the choir gave interesting interpretations ol concerted numbers that were notable for balance and clarity. There were no dead level mechanical renderings, for tho light and shade was as well expressed as with a first-rate soloist. The only weakness lay with the tenors, whose tune was reedy and thin at the times when lull expression was necessary. Apart from this, unity produced rich sonority of tune and tho ensemble effects were of uncommon quality The singing of tho basses, particularly the second basses, was outstanding. Their resonance and balance were .splendid. The programme was selected with taste, and provided a setting which showed the choir in its best concert form. A pleasing feature of the concert was the clearness of tho words —a very rare feature iu choral singing. Tho prologue, ‘ Salutation, a_ short concerted number by S. R. Gaines, was accorded broad, musioianly treatment. The singing in the opening part of the air was beautifully modulated, working up to an exceptionally fine climax, iu which the work of tho basses was excellent. A virile performance of noble and tuneful old Welsh part song, ‘ Forth to tho Battle (Jenkins) was warmly applauded. The rhythm could have been varied a little more, but the choir caught the martiai spirit of tho song to a nicety, and sang with lino gradations of tone. Hame, Hame, Hame,’ an old Scotch iolk song, arranged by Deems Taylor, was straightforwardly good. Air J. _D. Cameron took the tenor solo a gainst, a humming accompaniment from tho choir. The basses wore again prominent in a variety of tonal colourings. Charles Gounod’s part song, By Babylon’s Wave,’ was the choir’s best number. Tho opening theme was sung with considerable delicacy and restraint, and then, iu splendid contrast came tho martial note, interpreted with animation and expression. lha concerted effect was remarkably line. If ]>r Galway had not exercised such a nice control, ‘By Babylon’s Wave might have developed into a shouting match. Gerald Oobb’s choral work, ‘Song of Trafalgar’ provided an exacting test for the choir. The accompaniment was played by the orchestra, and a good balance was evident between the choristers and the instiumontalisis. This number is_ built on impressive lines, and the choir gave it the nccessarv touch of sincerity in a dignified ami satisfactory interpretation. The tenor solo was sung by Mr T. Bacbop, and the bass solo by Mr J D. MTvcchnio. Tho latter used his fine voice to the fullest advantage, singing with conviction and artistry. Tho orchestra went temporarily astray with their tempos in one passage but otherwise gave good assistance. Ibu concluding choral work was Recognition of Land’ (GreigL an intensely dramatic song of the Norwegian king, Olaf Trygvason, sung with good spirit and clear tone. Miss Eva Scott was the outstanding soloist of the evening. Her opening numbers were two beautiful Schubert songs—‘ Cradle Song ’ and ‘A “dd Rose ’—and these wore sung with consummate artistry anti charm. Hie two songs were in attractive contrast and showed off the finer points of Miss Scott’s voice extremely well. This young singer has a pure soprano voice of unusual quality, and she knows exactly'how to nso it. Miss Scott also sang the ‘ Saper Yorosti ’ aria from Verdi’s ‘Un Ball in Maschora,’ surmounting the technical difficulties and “bravura coruscations” of a florid number with ease. Her top notes came nut beautifully. Tho male soloists were Messrs J. S. Anderson, G. S. Newton, J. G. Dick, and H. M'Allum, who were heard in pleasing songs, indicating that they are vocalists of promise, Two flute solos by Mr J. V, Stewart, tho solemn ‘ Pocmc Eleiriaqiic ’ (Tillniotz) and tho sprightly ‘La Messagere du Jour' were played with skill, precision, and very fmo tone. Tho orchestra also gave Massenet’s ‘ Meditation from Thais,’ Mr J. A. Wallace playing the solo with Ins customary refinement and artistry. Mr T J. 'Kirk-Bnrmiand was accompanist. ___________