“OLIVET TO CALVARY.”

Hawera Star, Volume XLVI, 13 April 1927, Page 4

“OLIVET TO CALVARY.”

BY METHODIST CHOIR

INTERESTIN' G PERFORM AN CE.

Fitting and appropriate in every way to the season of trie year is the very ceautiful and attractive work, the sacred cantata “Olivet to Calvary,” which was given by the Methodist Choir, in Hawera, last evening. It recalls in the words, very simply and reverently, scenes tffat mark the last days of the Saviour’s life upon the earth: first, the rejoicing of the multitude, the scenes in the Temple, around Jerusalem, and on the Mount of Ulives; and then in the latter part the Passover Supper witn Christ, and his new commandment of mutual unselfish love, the pathos of Gethsemane, and the triumpn of Calvary. The story was graphically and strikingly told as a prelude by Rev. AY. J. Oxbrow, who pictured the outstanding features of the tragedy of those last sad days. The solo sections were all sung with much expression, and a sense of the reality of the words, and of the incidents depicted. The tenor section was allotted to Mr. J. Fraser, who infused much feeling into his singing of the exceedingly difficult recitatives and arias. Perhaps his best were the arias, “Like a fair vision, a diadem on Zion’s Holy Hill”; “Not of this world,” with its striking finale”; “AYTiere God’s blest mansions shine.” He also infused the right feeling of sadness into the lovely adagio, “He was despised.” To Mr. Eric Pacey was given the baritone solos. It was a big part, demanding a lot of force, power, and expression; and throughout he was good. He sang with a marked, intelligent appreciation of the ideas in the mind of the composer, and of the writer of the words. The lamentoso “O Jerusalem,” with its dramatic finale, the very expressive “Come unto Him,” the fine recitative “And Jesus knowing that His hour had come,” with the lovely arietta “A new commandment,” and the tragic recitative leading into tne adagio, “Father, into Thy hands,” were all very well sung, enunciation and intonation being capital. The chorus work throughout was sung with much expression and attention to light and shade, and was most responsive to the conductor’s control. The unaccompanied sections were entitled to great credit, for in them the blend and balance of voices was most apparent. Particularly good were the soft choruses “Come unto Him,’ “Droop, sacred head,” and “O Thou whose sweet compassion.” A fine volume was secured and maintained in the unison passages “When o’er the steep of Olivet,” leading into the concerted “His power has poured,” and the allegro “Hosanna to the Son of David.” A very pretty effect was secured in the soft allegro “Another Temple waits Thee, Lord Divine,” with the following larghetto chorus, “Bow down Thine ear,” and its brilliant full movement, “The temple of my heart.” A fine result was achieved in the shout of disdain by the mob, “Crucify Him, ’ and the following “March to Calvary,” with the triumphal paean “Love, holiest love, shall Earth and Heaven atone in Fadeless Day from Christ’s Eternal Throne.” The performance was under the effective control of the conductor, Mr. H C. A. Fox, who inspired the choir to" its best. Mr. Thornber was at the organ, and played the difficult, striking preludes and accompaniments with much effect.

Altogether the performance was one of which the choir and conductor may be proud, and, the people who attended in large numbers showed keen appreciation throughout the work. At the conclusion, members of the choir and some friends were entertained at supper by the ladies in the schoolroom. Before dispersing, the Rev. W. J. Oxbrow expressed appreciation to the ladies for their refreshments, and congratulated the conductor and choir on their good work. Air. Fox brieflv acknowledged the compliment. and warmly commended the young soloists on their success, and the choir on its good work and faithful service.