ORATORIO BY THE CHOIRS.

New Zealand Herald, Volume LIX, Issue 18026, 27 February 1922, Page 8

ORATORIO BY THE CHOIRS.

■» MENDELSSOHN'S "ST PAUL' : The performance of an important chorai work generally finds a place during th< Auckland sittings of the Methodist Con ference, and it wag gratifying to note audi a large attendance (if the musically hr dined at the rendering on Saturday even ing of Mendelssohn's oratorio "St. Paul 11 by the combined Methodist choirs, undei the conductorship of Mr. E. J. Gatland, who has done veteran ssrvice in this de partment in past years. A more fittinj choice of a work to form an attract!v< feature of the centenary gathering coulc scarcely have been made. The oratorit contains much of Mendelssohn's finest pari writing, and no number is without it! particular intrinsic beauty. While thi more devotional tendencies of the compose) are never in doubt, much of the scoring rises to a rare pitch of dramatic intensity, particularly in the St. Stephen episode! Having regard to time limitations, tht conductor showed some discretion ir making numerous "cuts" in Saturdaj evening's rendering, thus avoiding mm! of the tedium inseparable from lengthj oratorio performances. Madame Chambers, who has not beer heard in public for some time, was chosen as exponent of the soprano music, which mainly consists of trying recitatives. She sang with. intelligence, and frequentlj gave evidence of that vocal aptitude which has won for her much approval ir the past. The soprano's best number* were the beautifully melodious aria "Jerusalem," with its delicately-scored acconj' paniment for wood-wind, strings, etc., and the arioso, "I Will Sing," As contraltc soloist, Miss - Laura Stone had little tc accomplish, but scored heavily in the ar. resting fragment, "But the Lord is Mindful of His Own." This exhibited the expressive and rich timbre of Miss Stone's voice to singular advantage, and a repetition was insisted upon. In the tenor role, Mr. Ernest Drake sang with feeling, but was scarcely up to his usual vocal form. His ■'best effort was in the cavatina, "Be Thou Faithful Unto Death," which suited his lyric style. Mr. Arthur Colledge was invariably au fait with his bass music, though his vowels were not always consistently treated. His intervals in the fine solo "Consume Them All" were voiced with energy, while a high standard of appeal was reached in the outstanding aria, "0 God, Have Mercy." Mr. E. J. Gatland had a masterly control of the choral and orchestral forces throughout, frequently securing enviable results. Considering that the rehearsals of the commenced in November last, had been interrupted by the Christmas vacation, all the more credit is due to the accomplishment of a task df such magnitude. More male voices—when was it otherwise ?—would, of course, have materially added to the effect in certain choruses, but, even with this handicap, such numbers as "Lord, Thou Alone Art God," "Now This Man," "Stone Him to Death,' ''Happy dnd Blest are They," with its suavely flowing accompaniment, and Rise Up, Arise!" were marked successes. The choir rose to a fervent pitch in the notable chorus, "0 Great is the Depth,' which concludqd the firjfc part of the oratorio. The sweetly-flowing theme of "How Lovely are the Messengers," which was such a ff rourite of the composer's, was declaimed with expressive rhythm, while the difficulties of the concluding choral numbers were successfully grappled with. The influence of Bach upon Mendelssohn is well marked in the finely-conceived chorales "To God on High," "To Thee, o,Lord," and "Sleepers, Awake," and the rendering of these was praseworthy. The orchestra, capably led by Miss Edith Whfielaw, gave good support in most of the solo and choral numbers. More rehearsal would, however, have materially contrbuted to the effect of many of the more subtle points of the instrumentation.