THE COMPETITIONS

Otago Daily Times, Issue 23593, 1 September 1938, Page 19

THE COMPETITIONS

FIVE OPERA ARIA FINALISTS FIRMS' CHOIR CONTEST WON BY D.S.A. COMBINATION Five competitors were chosen last night*' to appear in the final of the grand opera aria contest at the Dunedin Competitions Society's annual festival, those chosen being the three recalled yesterday afternoon and two of the three recalled on Tuesday. They are Mrs Reta Stone (Auckland), Misses Isa Duff (Dunedin), Aileen Young (Dunedin), Daisy Perry (Christchurch), and Mr William Sutherland (Dunedin). The programme last night included the firms' choir, contest, an interesting and attractive competition which brought forward four choirs. The winner was D.5.A.,: Ltd., which gained a total of 175 .points in the two sections and thus took the Invicta Shield. The Ross and Glendining choir was second with 171 points, and the' Public Service choir third. The winning combination was conducted by Mr Colin Oliver, the accompanist being Miss Joyce Watson. The judge (Dr James Lyon) stated that all the choirs gave very good performances, the winning combination showing evidence of careful in-truction and singing in picturesque fashion. The elocution scholarship for adults, which was decided last night, was won by Miss Joan Masters, of Christchurch. Miss feillie Loan (Dunedin) being second arid Miss Alice Clarke (Dunedin) third. The piano concerto contest, which carries with it -the cup presented by Messrs Collard and Collard, Ltd., London, in conjunction with Messrs Charles Begg and Co.. was completed yesterday, when the two final competitors were judged. The winner was Miss Audrey Kirk, of Dunedin, with Mr William R. Clarke (Dunedin) second and Miss Nellie Pickett (Palmerston) third. In the ladies' sacred solo competition two competitorsMisses Doris Wilson (Dunedin) and Miss Mary Donaldson (Highcliff)— tied for first place and so halved the total prize money, but Dr Lyon expressed himself as so pleased with the work of .the three recalled that he would like to;present the third prize himself, this award going to Miss Lexie Mathieson (Tomahawk). Results:— VOCAL MUSIC JUdge: Dr James Lyon (London). FIRMS' CHOIR CONTEST. Minimum voices 16, maximum 25. (a) Part song (accompanied). "Love 1 and Summer". (West); (b) Pastoral (unaccompanied), " Shall We Go Dance?" (Stanford). D.S.A., Ltd (conductor, Mr Colin Oliver), 175 points 1 Ross and Glendining, Ltd. (conductor, Mr J. Simpson), 171 points 2 Public Service Choir - (conductor, .MrL. B. Borrow), 158 points .. 3 Also competed: Combined Printers' Choir (conductor, Mr T. F. Savage). "All. ,the choirs put up very good performances," Dr .Lyon said. "I think this idea is a'most wonderful one, because nothing brings people closer together than singing together." In the first piece the necessary features were control of vocal tone, neat phrasing, and, in the andante section, refinement in the imitative passages. The second number demanded crispness of rhythm. The great test of choral singing was whether a choir could get as good effect singing pianissimo as fortissimo. . The winning choir had well-controlled vocal tone and gave a thoroughly picturesque rendering. . The phrasing in the first piece was refined, although in places the sopranos did not: listen sufficiently to each other. The performance, however, bore evidence of careful' preparation i;,; In the second piece the rhythm was full of life and virile. The choir was highly endowed with temperament, and had evidently profited by the instruction of a good conductor. The choir - placed second immediately gave a sense of security, and the; interpretation and thought shown ih:preparation was to.be commended. •In the first song the attack was crisp, the release clean, and in the second the expression was well controlled and well considered. The phrasing of the third choir was a trifle "square-toed,", and some of the sopranos were unsteady in places. The finer points in variety of tone were not always observed, but the performance was enthusiastic and earnest.

GRAND ARIA CONTEST. Aria from grand opera in English. Own selection. Second section.

Recalls: Misses Aileen Young (Dunedin), Isa Duff (Dunedin), and Mrs Reta Stone (Auckland).

Also competed: Misses Margaret Murray (Dunedin), Alva Myers (Dunedin), Messrs William Stevenson (Dunedin), and Leslie Dunbar (Dunedin).

SACRED SOLO. Ladies. Own Selection.

Miss Doris Wilson (Dunedin) and Miss Mary Donaldson (Highcliff), 90 points, equal Miss Lexie Mathieson (Temahawk), 88 points .. ~. '.•••

Also competed: Misses Alice Gillies (Dunedin), Edna McLean (Dunedin), Eva Napier (Dunedin), Marion Duncan (Green Island), Doris Adcock (Dunedin), Reha Roche (Dunedin), Barbara McMorran (Dunedin), Violet Brunton (Dunedin), Thora McCombie (Dunedin), Daisy Perry (Christchurch), May Allan (Rupuna), Leone Watson (Invercargill),, Nana Newey (Dunedin), Janet Mearns (Dunedin), Dorothy Barron (Dunedin), Mesdames W. E. Glass (Oamaru), F. Gray (Lawrence), and E. J. McMillan (Mosgiel). Miss Wilson had a beautiful voice, the judge said, and it was under admirable control, her musical phrasing being outstanding, the florid passages being sung with remarkable clarity. The other competitor who tied for first placie was natural. Unassuming and unaffected and her words meant something. She also had the voice to carry out her ideas. The competitor in third place had a beautiful and expressive voice and her words were full of meaning, while she had a strange power of interpretation. INSTRUMENTAL MUSIC Judge: Dr C. Edgar Ford (London). PIANO CONCERTO CONTEST. Open to all. " Concerto fo;r Piano (and orchestra)." No. 3. C minor (Beethoven) . Miss Audrey Kirk (Dunedin). 90 points •...-» • • • 1 Mr William Clarke (Dunedin). 84 points .. .... . • ■ • • • • • 2 Miss Nellie Pickett (Palmerston). 83 points .. 3 Also competed: Miss Lois Manning (Christchurch). ' - • ' The winner gave a very delightful rendering, considerably assisted by the accompanist, Dr Ford said. She had a facile and crisp technique and in the second subject there was a great deal of poetry. The competitor placed second had a good technique and was rhythmic and refined in the softer passages, giving impression of sincerity. The third competitor also had a good technique, but it was slightly tightened/resulting in less crispness. She had a good sense of rhythm and very pleasing and graceful nuances.

PIANO DUO, two pianos, four hands. Open to all. "Variations on a theme of Beethoven" (SaintSaens). Miss Rena Simpson and Mr William Clarke (Dunedin), 83 points .. 1 Misses Joan Stewart and M. Jeffrey ( St. Leonards), 80 points .. ..3 Miss Joan Benton and Mr M. Jeffrey (Dunedin), 74 points .. ..3 Also competed: Misses Joyce Watson and Aileen O'Connell (Dunedin). The piece chosen was a beautiful example of the variation form, Dr Ford said. The winners: played like real artists, with freedom and grace, and the character of their work was interesting. The pair placed second were generally together, their work being interesting and poetic, but the final passages were smudgy.

PIANO DUO, two pianos, eight hands. Own selection. Time limit, 10 minutes. Recalls: Misses Olwyn Belcher, Josephine Allan, M. Guyton and K. Allan (Dunedin); Misses Audrey Kirk, Ray McGarrigle, Olive Nieper, and Ellice Nieper (Dunedin). Third place: Misses Rena Simpson, Marie Tilleyshort, Audrey Kirk, and Molly McKenzie. Highly commended: Misses Joan Moody, M.. Guyton, R. Stewart, and K. Allan (Dunedin). Also competed: Misses Hope Birt, Myrtle Cooper, Nance Dunlop, Mary Fraser (Dunedin). ELOCUTION • Judge: Mr J. W. Bailey (Auckland). ELOCUTION SCHOLARSHIP. (a) " The Necklace of Tears " (Carmen Sylva); (b) own selection. Miss Joan Masters (Christchurch). 162 points 1 Miss Billie Loan (Dunedin). 159 points 2 Miss Alice Clarke (Dunedin). 15R points .... .... .. .. .. 3 Very highly commended:. Miss Daphne Morrison (Dunedin). Highly commended: Misses Margery Fitzgerald (Invercargill) .and Pat Strachan (Dunedin). Also competed: Misses Ivy Smith (Dunedin), Bridie Fraher (Dunedin), Edith Lunam (Dunedin), Marjorie McTaggart (Dunedin), Christine Wallace (Dunedin), Peggy Griffiths (Dunedin). Dorothy Shan (Christchurch), Joy Ferens (Dunedin), Elizabeth McKeowen (Dunedin), Beryl Baggs (Dunedin), Elsie Kirkham (Dunedin). The test piece required a good deal of delicacy of treatment, and that was where . a number of the competitors failed, said Mr Bailey. Poems of nature had to have a rhythmic f10w,,, and required fine and reserved. treatment, and .competitors not sufficiently advanced Were found out in the first few lines. The winner, in her own selection, told the story clearly. She had a nice bright voice and emphasised her.words well; in the test piece she was not so good CHARACTER SKETCH: Open -to all. Own selection. Additional marks awarded for costumes and makeup. • Miss Alice Clarke (Dunedin), 104 points .. 1 Miss Billie Loan (Dunedin), 97 points .. .... .... .. 2 Miss Joy Ferens (Dunedin), 96 points 3 Highly commended: Misses Beryl Baggs (Dunedin) and Daphne Morrison (Dunedin). Also competed: Misses Elizabeth McKeowen (Dunedin), Edith Lunam (Dunedin), Dorothy Shah (Dunedin), Joan Masters (Christchurch), lona Livingston (Dunedin), Mr J. B. McNeill (Christchurch). The winner's interpretation was very good, Mr Bailey said, and her expression was most natural. The comDetitor placed second told her story well, keeping well in character, but there was a lack of muscle relaxation and body freedom. RECITATION. Shakespearian selection. Ladies. " Taming of the Shrew." Act 4, scene 4. Miss Beryl Baggs (Dunedin), 81 points, .. .. 1 Miss Ina Livingston (Dunedin). 80 points .. .. ~;" 2 Miss Elsie Kirkham (Dunedin), 79 points ...... .. .. .. 3 Highly commended: Misses Edith Lunam (Dunedin). Margery Fitzgerald (Invercargill), Peggy Griffiths (Dunedin). . Also competed: Misses Billie Loan (Dunedin), Alice Clarke (Dunedin), Marjorie McTaggart (Dunedin), Joan Masters (Dunedin). Pat Strachan (Dunedin). The selection was chosen as a test of certain aspects of Shakespeare, said the judge, but most of the competitors did not realise it was a comedy, and the teasing element in Petruchio was largely overlooked. Mr Bailey added his appreciation of the way the various competitors in this class had, though never placed, supported class after class. They competed in the best of sporting spirit, and their work must improve with the experience gained. Quite a few of the performers were "knocking at the gate." RECITATION. Gentlemen. Own selection (humorous). Mr Cecil Oaten (Dunedin), 79 points 1 \ Also competed: Messrs J. B. McNeill (Christchurch) and Fergus Still (Dunedin). RECITATION. Gentlemen, 16 and under 21. Lines from "Drake" (Alfred Noyes)/ Mr Mervyn Fay (Dunedin), 80 points 1

The only competitor. RECITATION. Boys, 14 and under 16. " The Knight's Leap at Altenahr " (Charles Kingsley). Master John Calder (Dunedin), 80 . points 1 Master Thomas Reynolds (Dunedin), 78 points 2 The only competitors.

JUDGES' COMMENTS HIGH STANDARD OF VOCAL WORK ~ SOME CONSTRUCTIVE CRITICISM With the festival practically finished so far as judging is concerned, the four adjudicators are in a position to sum up their observations on the standards of the various sections, and, interviewed yesterday, they gave some constructive criticism which should be of considerable value to the competitors. Dr James Lyon, judge of the vocal classes, expressed the opinion that the standard of singing in Dunedin, so far as adults were concerned, compared favourably with that at any festival he had attended before. EXCEPTIONALLY FINE WORK PRAISE FOR ACCOMPANISTS "The vocal music in the adult section has been of a standard comparable with that in any festival at which [ have adjudicated," Dr Lyon said, " but before saying anything about the work itself I want to pay a tribute to the splendid playing of all the accompanists. They were magnificent. There was a tremendous lot to do, and many of the accompaniments, especially in the aria contest, were very difficult. but I can say that they would be no disgrace in performances by a concert singer; in fact, such an artist would be glad to have the accompaniments that I have heard."

There had been, Dr Lyon said, some exceptionally fine Work in the Grand Opera Aria and the Gilbert and Sullivan classes, and several of the competitors showed extraordinary stage and- histrionic ability. In all the classes, however, certain .faults had been noticeable, and he desired to point these out to competitors in a purely constructive sense. The chief faults were faulty voice emission, unsteady rhythm, a want of poetic insight, clumsy diction, and corrupted vowel sounds. Many of the competitors seemed to sing with the knowledge that they had a throat, instead of producing their voices as though they did not have one at all. There could also have been more singing from the heart. In brief, it was all a matter of breath control.

"I must say," Dr Lyon added, "that I have noticed more unsteadiness of breath production in Dunedin than at any festival in the other colonies or in England. If singers would only be content to do nothing but breathing for two years it would be well worth their while. If anyone came to me they would sing only four notes for the first year. Half of the competitors ought to read" poetry in plenty to be able to make words the living things they should be. They should also think more of the colour of their words."

The children had been perfectly delightful, Dr Lyon declared, and he had never before come across youngsters who so thoroughly enjoyed themselves. And that enjoyment had been infectious. They had created an atmosphere and had lived it, while their voices had been exceptionally pretty. Their actions, too, showed that they had not only been well taught, but

that they had been allowed to be natural. That was teaching, as opposed to coaching. Teachers should let the children make their own actions with just a little guidance, and they would be right. THE INSTRUMENTAL CLASSES SINCERE AND SOLID PLAYING Due both to his inability to be present in the opening days of the competitions, and to an indisposition which debarred him from adjudicating during the second week, Dr C. Edgar Ford, judge of the instrumental music, came in contact with fewer competitors than any other judge. Consequently he was not in a position to speak unreservedly. At the same time he was enthusiastic regarding the standard of play,in the chief piano solo contest and in the piano concerto contest. "In both these classes it was of an exceptionally good quality," he stated. Generally, he considered the work had been of a fairly good standard. There had been a good deal of sincere and solid playing, and most of the competitors had given him just what he expected in the particular classes he adjudicated. "Most of the work that has come my way," Dr Ford continued, "has been piano playing, and I would like to see more interest displayed in other instruments. You have no national or civic orchestras in this country, and you are not likely to have unless performers take up the study of other instruments. No country can possibly progress far, musically, if it has no such orchestra. In New Zealand you have one big advantage over other countries, and this advantage should serve to raise your musical standard. You have no fewer than five doctors of music,, all highly capable men. In the whole of Australia, with a population many times greater than yours, there are only five doctors of music, and I think most of them are in Adelaide."

Dr Ford would not make comparisons between local performers and performers elsewhere. " Comparisons are always unsatisfactory," he said, "but I do think the standard here compares favourably with what I have encountered in Australia." Dr Ford referred briefly to the vocal classes he had judged. These he had found produced a good type of performer, but there was a leaning towards favouring songs of an unduly sentimental type. ELOCUTION SECTION STANDARD ONLY FAIR "The standard was only fair," said Mr J. W. Bailey when asked to comment on the elocution section. There had been an evenness of work, but, speaking generally, there had been very few outstanding performances. He attributed this to inexperience on the part of competitors. Nearly all who had come before him were young people, and even in the adult classes the performers were comparatively youthful. He thought they were coming along on the right lines, but many were as yet in the melting pot of development. He had been very pleased. Mr Bailey said, to notice the absence of two things usually to be met with at competitions festivals. In the children's classes he found no sign of that most objectionable trait, precociousness, and he had been even more gratified to observe a complete absence of a jealous competitive spirit. The most serious fault, he said, was that very few competitors appeared to understand fully what they recited, or, if they did, by wrongful emphasis they did not succeed in conveying the story to listeners. Falling modulations and falling inflections were partly responsible. There was a strong tendency* to play with tone effects as effects rather than delivering them as urges from their own true feeling. Through a somewhat persistent monotone pjj element of tragedy was frequently unnecessarily introduced. These things occurred because the competitors did not understand the complete spirit of their pieces. They aimed at dramatic effect without taking any consideration of emotional values. This latter quality required years of study to attain. "I would like to advise students," Mr Bailey continued, "no matter what form their studies may take, to avoid all elocutionary tricks of manner and voice. They should aim at the control of action by gaining poise and an easy abandonment. Most important, they should strive for purity of English. It is very easy indeed just to recite lines, but that treatment will not get a performer very far. He must think more of the subject matter and give it his own natural expression. " Regarding the younger children, he would advise them to practice reading aloud," he concluded, "and to read only the best literature. They could increase their vocabulary by taking a note of any word new to them, and by looking up its meaning and pronunciation in a dictionary. Boys should take a deep interest in speech, as the development of personality meant so much in either the professional or business life." IMPROVEMENT IN DANCING EFFECT OF ACADEMY EXAMINATIONS "The standard of dancing in Dunedin, especially in the operatic sections, has shown a great improvement since I was last here five years ago," Miss Gibbs said, " and for this improvement I think we have to thank the Royal Academy examinations, which were started in New Zealand about three years ago. "My chief complaint with the dancing competitors is that some of them are obviously being taught work that is too difficult for them at their present ages. It is much better to nasten slowly in this respect and do simple work easily and well than to attempt difficult work that gives the impression of effort. On the whole the interpretative sense of the children is good, but in some cases the music to which the dances were set was not suitable. I would suggest that less waltz time be used in operatic work, as it is the most difficult tempo to which children can dance. The minuet, gavotte, polka and many other types are simpler and just as attractive. It is very hard to put the necessary flow into dances in waltz time, with the result that there is a tendency to drag." Porte de bras, or arm work, was not generally good, Miss Gibbs said. The fingers should lead the hands and arms on all occasions, and there should be a distinct connection between the brain and arm. Every step should have its corresponding arm movement, commencing always from the tips of the fingers. Miss Gibbs also noticed a tendency to mechanical action, some of the competitors dancing with no thought behind their work. All dancing, she said, should be from the heart.

The weakest classes in the festival were the character and demi-character dances. Miss Gibbs said. There was a lack of imagination and originality, and the choice and arrangement of the dances were not always good. The costumes and dresses in this section, however, were remarkably good, but personally she did not think it necessary for parents and competitors to go to great expense on frocking, as, after all, the work was the important thing. One would prefer to see this money, which obviously was a considerable item, spent on extra tuition. In character and demi-character classes marks were given for authentic, but not elaborate, costumes. "Personally, I would like to see operatic dances at Competitions festivals done in regulation examination frocks," Miss Gibbs added. "There is also no need for elaborate stage settings and properties. Artists should be able to suggest all these things. On the whole the footwear of the dancers was untidy and clumsy, and I would like to see more attention paid to this important detail Judges have to watch the feet, and if the shoes are bad the performance loses some of its merit.

Miss Gibbs considered that the tap dancing sections of the festival were of quite a fair standard, but most of the dances were too long. The beating was very clear and rhythmic, but the

time was in some cases not very good. In some instances it was not helped by the accompaniments, and in this connection it was necessary to point out that dancers should not be accompanied—they should dance to the music. The music, too. should always be of the best. TO-DAY'S PROGRAMME A programme which should be of SDecial interest will be presented this evening, for it includes Miss Anita Winkel's • Half-hour, a special ballet by Miss Lily Stevens, the finalists in the Grand Opera Aria and Gilbert and Sullivan contest. Chief Piano Solo, Humorous Character Sketches, piano duos, vocal solos. Leider section, the winners of the Firms' Choir Contest, and the Elocution Scholarship. Demonstration concerts and matinees will be held to-morrow and Saturday, when specially arranged programmes by Drize-winners will be presented. The box plans are at Begg's.