ROYAL MALE CHOIR

Otago Daily Times, Issue 21446, 22 September 1931, Page 8

ROYAL MALE CHOIR

AN ADMIRABLE -PERFORMANCE The 174th concert given by the Royal Dunedin Male Choir attracted a large audience to the Town Hall last evening, when a particularly interesting programme of choral and solo numbers was presented. The first half of the recital was devoted to the presentation of J. H. Maunder’s cantata “ The Martyrs," a composition rich in melodic charm and graphic narrative. The choral sections of the cantata were given an admirable performance on the whole, the balance and cohesion maintained by the choir being an excellent indication of the painstaking and thorough preparation it had received at the hands of the conductor (Dr V. K. Galway), The opening concerted number, “Who Is She Who Rules the Heavene,” received pleasing treatment, _ although a slight raggedness in combination made its appearance occasionally, but in the succeeding choral selections the choir settled down and gave thoroughly capable renditions. Foremost among these were “ What Is Thy Tale To Us?” which was sung with admirable restraint and cohesion. “ Come, They Defy Us,” one of the best concerted numbers of the cantata, “ Part Them at Once ” and the triumphal chorus, “Queen of Heaven Victorious,” the latter being sung with splendid spirit and tone, The baas solo part was entrusted to Mr E. Benton, who acquitted himself with distinct success. He sang the recitative and air, “ Where the River Kishon,” with very fine expression, his presentation of the other principal bass solo, “Oh, Bitter Mockery,” being most artistic in conception and execution. Master Lex Macdonald, who needs no introduction to Dunedin audiences, was perfectly at borne in the treble solo part of the cantata, and sang with great charm of expression and quality of tone. In his duet with Mr Benton, “He Givetb Life,” and the final solo of the cantata, “ Thy Citadel, 0 Zion,” he was responsible for most artistic performances, bespeaking a rare interpretative ability. Mr E. W. Robbins gave every satisfaction in the tenor part, his work being characterised by an excellent insight into the requirements of his numbers. He sang the recitative, “Come. Then, Lot us VVorship,” and the air. “Woo, Woe to the Fool.” with very fine expression. The cantata was accompanied by an efficient orchestra under the leadership of Mr J, A. Wallace, the accompaniments being nicely restrained and executed with good combination and cohesion of tone. The second half of the recital was opened with Richard Wagner's “A Roman War Song,” a stirring number which was given with excellent spirit by the choir. The singers attacked strongly and maintained fine balance and tone throughout the selection, achieving a crisp Unaie which brought the number to a most effective conclusion. The part song “ Loch Loven Lament " was sung with charming restraint, the tone quality throughout being particularly good. In the part song “ Cottage Wee " (Beschnitt) the choir provided a very effective humming accompaniment to the soloist, Mr G. S. Hawes, whose performance was noteworthy for artistic interpretation and capable execution. Two rousing sea chantys, “Johnny Como Down To Hilo ” and “ Fire Down Below,” tho chanty men, being Mr G. S. Thomson and Mr A. G. X i 'loming respectively, completed tho choral section of the programme.

Miss Mary Pratt, who occupies an enviable position in the esteem of Dunedin concert audiences, was accorded a warm reception when she appeared on the platform. In her two selections, “ When I am Laid in Earth” (Purcell) and “Life and Death” (Coleridge-Taylor), her glorious contralto voice was given delightful expression, and she had to respond with a recall number, “ Sink, Sink, Red Sun,” before the audience was satisfied. Mr Edward G. Bond, who is the possessor of a bass voice of rich quality, saim “ Thou Art Risen, My Beloved ” (Coleridge-Taylor) very effectively, and was also required to give an encore. An instrumental trio by Miss Valmai Moffett (’cello), Miss Ethel Wallace (violin), and Mr J. H. Aldridge (piano), “The Grand Trio Contertant” (Vollweilcr), provided a delightful interlude in the recital. The instrumentalists played with excellent combination and balance for the most part, although the piano was occasionally a trifle heavy, and the performers thoroughly deserved the warm applause which greeted the conclusion of their presentation. The accompaniments to the vocalists and the choir tverc capably performed by tbe acting pianist, Mr J. H. Aldridge.