ROYAL DUNEDIN MALE CHOIR.
In continuance of its fourth season, the Royal Male Choir gave its third concert mst week to an audience that completely filled the Town Hall. There was a good muster of choristers, who responded well to the decided beat given by the deputyconductor (Mr Janies Paterson). Whilst comparisons are unfair, it must be admitted that the first half of the choir’s programme sounded a trifle tame, but with the advent of the Wagner item after the interval, the work improved and a very fine standard was maintained to the end of the programme. The opening partsong, “ Song of the Northmen,” by Maunder, was given a good performance, with the basses dominant. Osgood’s “In Picardie ” is a nicely varied setting of a love ballad, and some good colour and tonal effects were obtained by Mr Paterson. The choir’s last item in part one—Dudley Buck's “ Hymn to Music," was given a very good opening. The baritone pitch was slightly out later on, but this did not mar a good rendering. Sir J. D.~ M'Kechnie’s fine timbre in Wolfram’s song from Act 111 of “ Tannhauser ” encouraged the choir to still better work, and the returning pilgrim chorus was most effectively sung by the choir. The passing effect was good, an impressive pianissimo being given by the choir. .Mr M’Kechnie’s clear, resonant voice admirably suited the part, and in the opening song and in the well-known aria “ Star of Eve ’’ his presence held the audience. Miss Eva Scott gave an intensely moving performance in “ Elizabeth’s Prayer,” the exquisite quality of voice and phrasing making a great appeal in this beautiful number. The part-song “Down Among the Dead Men” was given a rousing performance by the choir. It is straightforward and direct, and full advantage was taken by Mr Paterson tor crisp effect and comparisons. Sung unaccompanied, Hatton's well-known “When Evening’s Twilight” was noticeable for thc balance and pitch. The choir did good work here, the phrasing, enunciation, and shading being well done, without over-emphasis. In the two concluding sea chanties the choir was very happy. Mr A. G. Fleming struck a jolly note in “ Roving.” and with his admirable diction and decision, ably backed by the choir, lent to the chanty a worthy place on the programme. Mr Hugh M'Allum’s refined voice was heard to great effect in “ Clear the Track, Let the Bullgine Run.” The chorus in unison was very good, and the choir completed a good night’s effort with these songs. Mr Paterson set the correct tempo, and well maintained the high traditions of the Royal Male Choir in his conducting, control, and musicianship. Two songs were given by choir members. Mr E. W. Robbins made his debut to a Dunedin audience in “ On With the Motley,” from “ Pagliaeci.” and revealed a good tenor voice, considerable experience, technique, and stage presence. Mr C. S. Hawes sang the Prologue from “ Pagliaeci,” and revealed good tonal quality, though somewhat restrained for this ambitious item. Extras were sung by both singers. Mrs Wilfred Andrews was in glorious voice and Slave an outstanding performance in “ The Loreley.” by Liszt. Two extras were added to “ The Loreley.” In her second contribution Mrs Andrews gave an impressive rendering of “ O Mio Fernando,’" from “La Favorita ” —sung in English. Extras were generously conceded on the insistent demand of the audience. Miss Eva Judd played the violin solo “Meditation,” from “Thais” (Massenet). Miss Judd revealed clear, even tone, and good bowing, in a difficult first piece, and was most happy in her extra number. The Kreisler spiritual “ Chant ” was a decided novelty, and Miss Judd was very much at home in the double stopping and intonation of this piece. A new choir quartet party consisting of Messrs E-. Paris, T. Bachop, A. W. Romeril, and A. G. Fleming, was heard in “ The Land o’ the Leal.” The voices and blend were good, but not quite up to Burnett’s standard in this song. Why do singers use “to” in a Scots song instead of “ tae? ” Some of the soft solo singing hardly reached the balcony, and good forward production is necessary to achieve this. Mr Martin was. as usual, a host in himself, and his pianoforte accompaniments were a feature of the concert.
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Otago Witness, Issue 3996, 14 October 1930, Page 62
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706ROYAL DUNEDIN MALE CHOIR. Otago Witness, Issue 3996, 14 October 1930, Page 62
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