HANDEL’S ‘MESSIAH’

Evening Star, Issue 21905, 17 December 1934, Page 8

HANDEL’S ‘MESSIAH ’

SATISFYING PERFORMANCE AT FIRST CHURCH A To conclude a Dunedin musical season without the performance of HandeFs ‘ Messiah ’ is like robbing a symphonic orchestra of its violins. This most celebrated of all the oratorios has in former years been the finale of the Choral Society’s activities for the season. A long string of presentations has unhappily been broken, and even though its defection in 1934 is regrettable natural disappointment has at least been lessened by a very satisfying rendering of the more familiar solos and choruses in First Church last night. Given four good principals and a robustly confident choir, and the ‘ Messiah’s ’ success (from a musical viewpoint) is assured. The Choral Society has invariably filled that want even if public support has not filled the Town Hall. The soloists at this church performance could have graced the oratorio platform anywhere; each of the quartet is a recognised singer. And First Church seats were at a decided premium. Though unevenness adversely affected the unalloyed joy of the choruses—the usual sparsity of tenors was wedded to a numerical weakness in the alto voices —the choir acquitted itself with distinction, attacking the varying moods of the work with confidence. Dr Galway’s firm control was always evident —it could be said that he made the most of the talent at his disposal. ‘And the Glory ’ was rather uncertain at ( the commencement. ‘ 0 Thou That Tellest ’ was a much happier effort, though a lapse was again noticeable in the balance and vocal quality of the ‘ For Unto Us,’ in which the basses predominated. ‘ Behold the Lamb of God was perhaps'the best effort of the evening, overshadowing the splendour of the 1 Hallelujah Chorus ’ in effect. The soloists—Miss Evelyn Shepard (soprano), Miss Jess M‘Millan (contralto), Mr J. E. Davies (tenor), and Mr Don MTnnes (bass) were all in splendid voice. Miss Shepard’s soprano timbre allied to a thorough knowledge of the ‘ Messiah,’ made her presentations an absolute joy. Her ‘ Rejoice Greatly ’ and ‘ Come Unto Him ’ were impeccably rendered, even if she attacked the former aria at perhaps a rather hurried tempo. The tonal purity of Miss M'Millan’s voice was finely tempered. A wealth of meaning attached to the ‘ Ho Shall Feed His Flock,’ the underlying spirit of which was nicely expressed. Her other numbers were equally pleasing. Though Mr Davie’s pitch suffered in his opening of Comfort Ye,’ he was generally highly satisfying, the confident registration of his runs being a predominating trait throughout his numbers. Mr M'lnnes is the possessor of an unusually clear bass voice, Ids enuuciatory powers being comparatively perfect. His was a classic performance, each of the lengthy list of solos being i”vested with requisite power. Mrs 11- C r Vmpbcll. at the organ, was a imicnl force towards the work’s undeniable success.'