MUSIC FESTIVAL

Otago Daily Times, Issue 24296, 13 May 1940, Page 2

MUSIC FESTIVAL

DUNEDIN CENTENNIAL AUSPICIOUS OPENING BRILLIANT PERFORMANCE OF “ELIJAH" To every person in the large audience which filled the Town Hall on Saturday night the performance of Mendelssohn’s oratorio “ Elijah ” must have been a moving and inspiring experience. As the opening function of the Dunedin Centennial Music Festival, it was an excellent augury for the success of the festival as a whole, and artistically it was a triumph for the brilliant visiting artists, the well-drilled choir and the superb orchestra. There can be little doubt that in the field of oratorio Dunedin has not hitherto enjoyed such a uniformly impressive performance, and to the members of the Dunedin Centennial Music Committee, who have every reason for gratification at the success of their efforts, the Government, which made possible the visit to New Zealand of a band of outstandingly accomplished artists, and those who have so unstintingly given of their time and energy to ensure the success of the presentation, the musicloving public is deeply indebted. Any doubts that might have been entertained concerning the local performers’ ability to prepare their work thoroughly in the comparatively brief time that was allowed them were immediately set at rest by the confidence with which the choir set about its work, reflecting the intensive drilling it had received at the hands of Mr Alfred Walmsley. In the final analysis, however, the responsibility for the satisfying manner in which the choral portion of the oratorio was treated rested with the noted English guest conductor. Mr Anderson Tyrer, whose control of the choristers and the orchestra was perfect. In spite of its size—it numbered approximately 250 voices—the choir displayed all the qualities of balance, cohesion and flexibility necessary for the adequate presentation of th<i many noble choruses with which “ Elijah ’’ abounds It remained only for the singers to show an ability to follovy intelligently the interpretations of the conductor to provide the ultimate evidence of proficiency in its work, and so closely was it in touch with Mr Tyrer’s readings thet it mirrored faithfully his authoritative insight into the artistic possibilities of the oratorio. Much could be said of the infinite variety of colour, mood, and tonal gradation employed by the choir in the many notable concerted passages of the oratorio, but such a detailed examination would be unnecessary. It will be sufficient to state that when the choir was called upon to attack with vigour it fulfilled that requirement with full-toned resonance and fine balance. When contrasting shades were demanded of it they were produced clearly and effectively, and when the current mood called for delicacy and restraint, there were a purity of tone and a flexibility of control that created the requisite effect. Among the major choral numbers were “ Blessed Are the Men.” which was notable for its quiet devotional feeling. “Baal. We Cry to Thee.” and “Thanks be to God,” both of which made heavy demands noon the stamina of the singers. “Be Not Afraid,” “Behold! God the Lord Passed By.” a perfectly-controlled number, and the majestic climax, “And Then Shall Your Light.” The four visiting soloists who took part in the performance, Misses Isobel Baillie and Gladys Ripley, and Messrs Heddle Nash and Raymond Beatty were a quartet whose vocal and artistice accomplishments placed them beyond the reach of criticism. The bass role of Elijah, the heaviest sole part of the oratorio was brilliantly ■ handled by Mr Beatty, who, despite the exacting nature of the task and the fact that he was suffering from a cold invested his interpretations with a depth of feeing that made this section of the oratorio particularly memorable. His masterly vocal control, which was never more effectively demonstrated than in the lovely arias “Lord God of Abraham ” and “ It is Enough,” and the sincerity of his readings, did much to maintain the exceptionally high devotional character of the performance as a whole. His recitatives were also models of interpretative insight. Mr Heddle Nash, who has one of the most attractive tenor voices heard in this city for a long time, sang a comparatively small role with distinction. His work was marked by great delicacy of treatment and sensitive vocal shading. Miss Isobel Baillie’s soprano role was beautifully sung, her principal aria. “ Hear Ye, Israel,” being one of the loveliest numbers of the presentation. She has a voice of exceptional beauty, and her production is flawless. Miss Gladys Ripley’s treatment of the contralto role was marked by deep sincerity of interpretation and a high standard of vocal work. She is the possessor of a voice of lovely quality and great flexibility, and her readings showed a deep familiarity with the requirements of the role. Her principal arias were “ Woe Unto Them,” and the lovely “ O Rest in the Lord.” Miss Dorothy McKay also had a small solo part, which she sang with care and attention to detail. Two ensemble numbers which were exquisitely sung were the quartet, “ Cast Thy Burden Upon the Lord.” and the trio, “Lift This Eyes to the Mountains,” the latter being presented by Misses Baillie. Ripley and Joyce Ashton. Too much praise could not be given to the Centenial Orchestra, under the leadership of Mr Maurice Claire. Composed of many of the Dominion’s most urominent instrumentalists, augmented by a number of local orchestra members, this ensemble achieved a standard of concerted musicianship which set the seal of success upon the evening’s performance. At no time obtrusive, and displaying the most sensitive control in the quieter accompaniments.

particularly for the recitative and arias, it provided a perfect instrumental background in which warm, rich tone, and fine cohesion and balance - were marked features. In some of the heavier choruses the orchestra was assisted by Dr Galway at the organ. GREETINGS AND CONGRATULATIONS During the interval in the performance the greetings' of various prominent personages and organisations in the Dominion on the occasion of the commencement of the Dunedin Centennial Music Festival were read to the audience. The chairman of the Dunedin Centennial Music Committee (Mr N. R. Mclsaac) expressed the committee’s indebtedness to the Government for having made possible the visit of the accomnlished musicians who were taking part in the festival, and read a telegram of greetings and congratulations from Sir Ernest Davis, the Mayor of’Auckland and chairman of the Auckland Centennial Committee. Dr V. E. Galway, who is a member of the National Centennial Music Committee, expressed thanks to the local committee for the excellent work It had done in preparing the festival, and announced that the Minister of Internal Affairs (Mr W. E. Parry) had forwarded his congratulations and best wishes. THIS WEEK’S PROGRAMME The Deputy Mayor (Mr D. C. Cameron) apologised for the absence of the Mayor (Mr A. H. Allen),; and.after reading telegrams of good wishes from the Governor-General (Viscount Galway). and the Prime Minister (Mr P. Fraser) extended a welcome on behalf of the city to the visiting artists;- and expressed the hope that they would en.ioy their visit to Dunedin. The festival will be continued this week with a variety of musical and stage entertainments which should appeal to the most critical. To-night a full stage performance of Gounod’s opera “Faust” will be presented in His Majesty’s Theatre, and the presentation will be repeated on Wednesday night and again on Monday next. To-morrow night a symphony concert will be given in the Town Hall, which will also be the venue of an orchestral concert on Thursday night. A recital of chamber music will be presented in the Concert Chamber on Friday night, and on Saturday night the final festival concert by the Centennial Choir will be given in the Town Hall.