PATRIOTIC CONCERT.

Gisborne Times, Volume XLV, Issue 3981, 14 July 1915, Page 2

PATRIOTIC CONCERT.

A STIRRING MARTIAL CANTATA

CHE DITABLE PER FORMA NCE 0 F “COMAL A.’’

It was a hajipy inspiration which induced the promoters of the patriotic concert at the Opera Mouse last night to select Cade’s stirring martial cantata, “Comala,” as the composition to supply the entertainment. „ At a time when war is in the very air, and fathers, mothers, sisters, ‘ brothers, and sweethearts have bravely said good-bye to loved’ ones they may never see again the tpucliing story ’of the beautiful maiden who dies of anxiety while her bfcloved Eingal is at the wars must strike a responsive chord. In selecting Niels Cade’s heavy composition the promoters set the “choristers mi ambitious task, but it must he admitted that the principals and chorus of 81 (53 females and 28 males) got through the ordeal tolerably well last evening. There was a good attendance, considering the wintry conditions which prevailed. Warm applause greeted the rising of the curtain, which revealed the principals and chorus ranged in tiers one above the other on an improvised staging. The concert appropriately oponeif with the playing of the National Anthems of the Allies by an orchestra numbering fifteen instrumentalists, under the baton of Dir Mainland Foster, the audience standing meanwhile. An enjoyable concert programme preceded the. cantata. The orchestra were heard in “LTiriprsario” (Mozart), and the bracketed numbers, (a) “Swing Song” (Ethel Barns) and (b) “Merrymakers’ Dance” (Edward German), the selections calling) up warm aj>plause from the audience. A strong appeal to patriotic sentiment was made in the other numbers submitted. Mr Topliss sang Adams’ JWoteran’s Song” so successfully that he had to repeat the last verse. •'•Obedient to the Call,” a stirring patriotic song bv Eaton Failing, was well treated by Mr Lament Gurr, though the singer was somewhat overshadowed hv the orchestra in the opening passages. Mrs Lament Gurr chose Easthope Martin's charming song, “Langley Fair,” and so brightly did the lady treat the dainty theme that an encore was insistently demanded, and to this the singer as successfully gave another of the same composer’s songs. “Eatings.” Mr YV. E. Whitcley proved himseJl an -elocutionist of no mean parts by reciting Kipling’s stirring verse, “An Appeal,” in a manner which aroused great enthusiasm.

After a brief interval, the serious business of the evening commenced. The opening chorus. ‘Tip, Sound Ye the Horn,” was well taken by the male voices. This a clarion call to arms, in which Fingal’s warriors lash themselves into the proper spirit to fall upon the enemies. It is a Maori haka of melody, in which the warriors defiantly chant, “Call ye the foemen, call them to light.” _ just so did the ancient Welsh' warriors gird up their loins before battle with song, hence "Men of Harlech.” The important parts of Fingal and Comala were taken by Mr and Mrs Lamont Gurr, who at once put themselves on good terms with the audience by the manner in whicli they treated the opening recitative and duet. Mr Gurr has not been heard to better advantage than he was last night in his opening recitative, “Now at last shall I this haughty King lay low.” Mrs. Gurr infused, a world of feeling into the touching lines, “Farewell, Thou Light of M.v Spirit,’’ while the parting duet between Fingal and Comala was most artistically treated by Air and Mrs Gurr. The difficult recitative, “O Stillness full of Horror,” in which Comala wails 'forth, her agony of fear for Ringed while the battle rages, was a clever piece of vocalisation on Mrs Gurr’s part, and in this Gethsame of fear the singer seemed to personify oypry woman who has given her loved one to the war god. Miss L. Spurdle took the part of Dcrsagrene. with >11)11011 credit, and made the most of the opportunity afforded by the pretty solo, "One Bay 'There Came From Locldin,” which was particularly well sting. Airs Gurr scored strongly in the solos, ‘“atill’d is the Fight,” and “Where Art Thou, Fingal?” in which all. .the danger and fear of the woman who can only wait and hope.was cleverly demoted. Miss Esau created a most favorable impression in the pain of Melicoina. and one would fain have beard more of the lady’s rich contralto voice. Her lines, “Yes, Come Let Us Sing” and “O Banish Far Those Fearful Fancies” were nicely taken. Airs Gurr added fresh laurels with the numbers, “Slumbers Fingal the Brave?” “Y r c Spirits of My Fathers,” and “O. Were I Departed from Ca- ' run’s Waters.- I’' 1 ’' j 1 ingal’s grief on returning victorious only to find that his beloved Comala is sleeping cold in the grave was cleverly portrayed by Mr Gurr in - the lines, “Let Ale Gaze on My Beloved.” Fine work was dono by the chorus, particularly by they male voices. No .doubt this was due to the fact that almost the whole of the male, portion of the choir were members of the Liedertafcl, and thus were used to singing together. The chorus, “Our Pathway is the Storm,” in which all the' stress of a battle ol the elements wfis cleverly depicted, called up great applause. The finest work of the .chorus, howeveT, was undoubtedly the. closing number, “In the Darkness of Clouds,” in which a splendid volume of well-balanced sound was produced. It was a fitting finale to a distinctly creditable choral performance, "which should serve to popularise this class of music locally. Mr Mainland Foster deserves special praise for the surprising manner m which lie Brought the performers on considering the comparatively short time they have been rehearsing such a. stiff: composition. The patriotic fund should profit by a substantial sum as a result of the. entertainment.