SYMPHONY ORCHESTRA

Evening Star, Issue 21710, 3 May 1934, Page 7

SYMPHONY ORCHESTRA

CONCERT OF DISTINCTIVE INTEREST TSGHAIKOWSKY SYMPHONY A MASTERPIECE An evening with the Dunedin Symphony Orchestra has come to be an exhilarating musical experience. Last night’s performance afforded a peculiar exemplification of M. De Rose’s powers in commanding a lively interest in Ids music. The startingly unorthodox ‘ invitation to the Waltz ’ was a case in point. Whatever one may have thought of this very singular conception of thecelebrated Weber waltz, its clear-ciit vitality and precision as.-an orchestral performance could not but engage respect' and attention. The whole programme was-a particularly interesting one, dominated by a masterly presentation ,of the T.sqhuikowsky ‘ Symphony in F Minor,’ clearly the finest achievement of the society in the twelve concerts since its inception. The orchestra was at the top of form, and its playing was stamped with the authority of its exacting conductor. M. De Rose is intolerant of carelessn9ss or stupidity, and a director must be something of a martinet to bring an orchestra to such a high pitch. His players last night gave him an unhesitating response and finely indicated their worth as an orchestral unit. The Beethoven ‘ Coriolanus ’ overture opened the programme, and 'immediately created a distinctive note. It had great strength and intensity, the crashing chords being particularly Moiling in their reflection of the stern, unyielding nature of Coriolanus. The climax was beautifully suggested by, the strings. In a work such as this, a few tonal lapses or ill-timed entries can completely ruin the atmosphere a conductor is endeavouring ’to create. Happily there were no obvious offences here, and -the ~ audience retained a vivid impression of Beethoven’s virile picture. The extremely ' provocative ‘ Invitation to the Waltz ’ followed. The introduction was most charmingly interpreted by the ’cellos, but the waltz was lacking in the simplicity that brings out its inherent gracefulness. It was not a waltz at all—it was a fury—well played, but nevertheless an absolute fury. The Tschaikqwsky was the most stimulating performance the orchestra has yet given us. Its changing moods were represented with striking fidelity, possessing singular character iu every form of expression. it was a great pleasure to; hear the oboe so certain of his solo in the second movement (the second, third, and fourth movements only were played), and the pizzicato of- the • strings throughout the third was quite captivating. In the fourth movement and finale there was immense power tiiiely controlled to reach a climax in which the ensemble was possibly the most brilliant ever heard in a • Dunedin ■ orchestra. The ‘Farewell and Fire Charm ’ (the fire music that brings the third act of ‘ Die Walkure to a close) was the only performance f in which there was any obscurity. The opening was ■ very vague and uncertain, and it was only in the last passage that the Wagnerian themes were given fitting emphasis against a clear background. Bracketed ■ with th i s were ‘ Forest Murmurs ’ and ‘ Sigfned Forging the Sword Nothung,’ and this was a sensitive representation, delicatelv and warmly coloured and developed to a gripping climax. A selection of some of the principal airs of Puccini’s 4 Madame Butterfly closed the orchestral programme. ; The thoroughly operatic , style and voice of Signora Aida Bulmas gained her immediate popularity with the audience. Signora Bulmas appeared in costume, first as Santuzza in Cavalier i a Rusticana ’ to sing the well-known ; Voi lo Sapete.’ This aria revealed a clear, ringing voice of unusual power, very flexible, and liquid in' its more restrained qualities. Encored. Signora Bulmas presented ‘Si, Mi Chiamano Mimi ’ (‘I ,am Called Mimi .), from the first, act of ‘La Boherne.’ Later she appeared in the role of her operatic namesake to sing ‘ Ritorna \ mcitor,’ and, as a further encore, that other very necessary component part of every operatic soprano’s repertoire, ‘Un Bel di Vedremo (‘ One Fine Day ’), from ‘ Butterfly. Whether costume serves any purpose on a concert platform is a cjehatabla pomL ine only othei soloist was Miss Elvira Wycherley, whom it is always a pleasure to hear. To, an orchestral accompaniment, Miss Wycherley played Max Bruch’s ‘ Kol Nidrei,' a work of haunting loveliness, with an unerring sense of its beauties and charm. Her tonal line was almost impeccable, and she gave the music a peculiarly fascinating appeal. The accompaniment was excellent, as in Signora Bulmas’s presentations Miss Wycherley was recalled to play a lively .gavotte by Popper. Miss M. M'Dowell played the pianoforte accompaniments in the encore solos.