THE CANTATA ‘BETHANY’

Evening Star, Issue 20655, 1 December 1930, Page 6

THE CANTATA ‘BETHANY’

Those who attended tho evening service at Moray Place Congregational Church on Sunday will assuredly bo united in their praise of the rendering by tho choir of Challinor’s beautiful sacred cantata, ‘ Bethany.’ Tho minister, tho Rev. Albert Mead, introduced the work by reading tho scripture description of the life as lived at the time of Jesus in the Jewish town of Bethany. The librettists and composers of the past have found a rich harvest of truly spiritual beauty in delving into this narrative as set forth in the story of the beautiful and touching companionship that Jesus found in the home where He so often rested. Part 1. in the musical setting introduces Jesus and His disciples on their way to Bethany. Tho incidents detailed in the libretto are very original, and-following the* excerpt from the introduction (tastefully rendered by the organist at tho service). The choir, under the condnctorship of Mr Alfred Walmsley, did ample justice to the opening chorus. Moray Place choir quite lived up to its former excellence and the traditions that it held under the condnctorship of a former musician, Mr David Cooke. There was just one little tendency in the choir to not cpiite finish off with certainty tho final consonants in the words “afraid,” “ friend,” and “ loved.” Tho mark of exclamation at the words “Lo! how Ho loved him,” was not fully observed by the choir, and the opportunity for pronounced effect was lost, but notwithstanding this slight discrepancy tho Chorus in which this occurs was beautifully sung, and the light and shade, which tho conductor seemed to have such command over, were a perfect treat to listen to. A very sincere word of praise is due for the unaccompanied work. There was just the slightest tendency to flatten for a few bars, but a wonderful recovery came about. There is just one word to describe t.lie final chorus, “Who is this with power majestic?”— “ electric.” And it is safe to say that nothing liner has been heard from a church choir in Dunedin for many a day. It reflects great credit on Mr Walmsley and his fine choir that they were able to put forward such a fine effort. The organist, Mr MacMillan, deserves a word of praise in his fine treatment of several difficult passages. With the instrument at his disposal, he gave a very discriminating choice from a severe limitation of stops. In regard to the solo work of the cantata, one can only praise the different soloists who camo through the ordeal of the recitative nature of their solos with very great credit. Tho dialogue of Jesus and Martha was beautifully enunciated. The contralto had an appeal in her voice which - was very effective. The tenor part was sustained with a beautiful pureness of voice. One is impelled to pick out for lovely solo work Miss Evelyn Shepherd. Her purity of voice was an outstanding feature, as was also her phrasing in some difficult broken passages. It would indeed bo difficult to find fault with any of the solos sung, and altogether a very fine performance was given. It is to be hoped that a repetition of this delightful work- will lie given at no, distant date.—Contributed.