ROYAL AUCKLAND CHOIR

New Zealand Herald, Volume LXXI, Issue 21887, 24 August 1934, Page 9

ROYAL AUCKLAND CHOIR

NOTABLE PERFORMANCE WELL-BALANCED PROGRAMME A performance of outstanding excellence was given last evening in the Town Hall by tho Royal Auckland Choir, under the conductorship of Dr. W. E. Thomas. There very large audience, and the frequency of recalls bore testimony to the popularity of these notable musical events, and also to the good judgment displayed in the selection of the numbers which went to the making of a well-balanced and interesting programme. Tho opening number by' tho choir was "Roman War Song" from Wagner's early opera "JRienzi." The swinging of the spirited lines, given with vigour and clear-cut emphasis, made appeal to the audience. In effective contrast was tho following number by tho choir, Schubert's Serenade, the - plaintive melody receiving a deeply sympathetic rendering, in which the balance of tone was admirably sustained. Balfe's oldtime ballad, "One Smile from Thee,'' was given an excellent rendering as a baritone solo by Mr. A. Gaily, with muted accompaniment by tho choir, the item being repeated as an encore. "Spring is Come" by Dudley Buck was notable for the effective modulation of tone in the second verse, taken in andante, and strongly in contrast with the light, sprightly spirit of the first verse. The singing of the basses was more effective in tho closing stanzas of this number. Quaintly humorous and much to tho liking of the audience was "A Mistake," based on the confusion of the lass who "kissed the gas inspector in the dark." The outstanding feature of the performance, however, was tho choir's rendering of the "Viking Song" (Coleridge-Taylor), in which the martial rhythm was strongly marked. The verve and spirit with which all voices combined to bring out tho full beauty of music and words carried reassurance that, given such vehicle of expression as that of the Royal Choir, there need be little fear in Auckland as to the future of "live" vocal music in competition with even tho -best artistry of the recorded number. This song was repeated in response to an insistent encore.

Two olrt-timo favourites, "The Last Hose of Summer" and "Sweet and Low," were given as request numbers, the former in a beautifully smooth tone, almost hymn-liko in the harmonious blending of tenors and basses. Tho concluding item by the choir was "March of the Kegimcnt" (Do Rille). Here again the martial note was predominant, the resonant notes of tho basses making a fine tonal background to the tuneful refrain. A distinctive item in the. supporting programme was tho Greig Sonata in G major, for violin and piano, given by Mr. Vincent Aspey and Mr. Erie Bell. The items selected as encores were tlio ever-populnr "Ave Maria," Schubert, and one of tho latter's "Moments Musicale." Miss Doris Mooro was heard in several contralto solos, "Tho Bitterness of Love," Klgar's "Pleading" and Brahms' ' Lullaby." The singer was heard to best advantage in the latter, giving as an encore number Malliuson's "Oh Thank me Not." Several baritone so\os were contributed by Mr. Fred. Bourke, including Sidney Homer's "How's My Boy?" and "The Lute Player" by AUitson. Encores were demanded in each instance, however, tho singer responding with Quippe s dainty "Now Sleeps the Crimson Petal" and Clarke s fine composition, "Sincerity."