CHORAL SOCIETY

Poverty Bay Herald, Volume LX, Issue 18254, 24 November 1933, Page 5

CHORAL SOCIETY

“MARITANA” PRESENTED EXCELLENT SINGING The most ambitious undertaking yet faced by tbe Gisborne Choral Society, the production of tho romantic opera, “Maritana,” was carried to a successful issue lust night at the Opera House, before a most appreciative audience. The opera is one which gives fine scope to a society such as that organised by Mr. J. Carrington VVeilby, and in the presentation last evenig there was ample evidence of a most careful preparation of solo and choral numbers. The staging of the effort was excellently done, and tho interest of the audience was hel<i from start to finish, the singing being punctuated by warm applause. In the choice of “Maritana,” the principal role of the opera, the society was indeed fortunate. This role was taken by Miss Gladys Fanning, whose splendid soprano voice was equal to the full range of the songs allotted to her, and whose effortless production meant a great deal to tho success of the later portion of tho programme. Maritana is the central figure of the opera, of course, and is on the stage almost constantly throughout the unfolding of the story, taking part in duets and trios from time to time, as well as rendering a number of solos. For an amateur singer, the part is a most exacting one, and Miss Fanning carried it through with 'wonderful elan. “Scenes that are Brightest, tho major solo of Act 111, was undoubtedly her best effort of the evening, but it was closely rivalled by “’Tis the Harp in the Air/' 1 “With Rapture Glow, iug,” and “A Knight of Princely Mien.” The work of Mrs. M. Smith as Lazarillo was well contrasted with that of Miss Fanning, this singer also giving an excellent account of herself in the mezzo-soprano role, and participating with Maritana ,« the duct “Sainted Mother” and with Mr. Ray Nicholson (Don Caesar) in “Hither As I Came,” with almost as much success as was scored by her principal solo, “Alas, Those Chimes So Sweetly Stealing. In Miss Robina Cook, tho society has an equally pleasing singer in the contralto section, Miss Cook taking the songs ol the Marchioness, and scoring well in the concerted numbers in which she appealed with Messi's. S. Vincent, P. Hockley and ,1. Mercer.

Among the male characters of the opera, that of Don Caesar was shared 'by Messrs. Ray Nicholson and .1. Mercer. Mr. Stan Vincent took that of Don Jose, baritone. Mr. Sydney Lotte appeared as the King, and Mr. Paul llockley took the songs of the captain, the alcalde, and tiic Marquis, each of Which called for a strong bass. The principal honors fell to Mr, Nicholson, who displayed a sound dramatic sense, and imparted to his singing a degree of enthusiasm which should bo a model for those undertaking such work. The solos. “AH'the World Over' and “Yes. Let Me Like a Soldier Fall, ’ were his best efforts during the evening, but in his duets with Maritana, and also in other concerted numbers, he carried his role with easo and very considerable success. Mr. Mercer is a tenor of quality, also, though without the experience of Mr. Nicholson, and ho gave a good]

account of himself in the. solo, “There is a Flower that Bloometh.”

The part of Don Jose in the opera is that of a scheming supporter of the King, and one of the principal contributors to the dramatic action of the play. It was a heavy part for Mr. Stan Vincent, who, however, carried it through successfully, the solos “In Happy Moments Day by Day” and “So My Courage Now Regaining” providing good scope for his robust baritone. Quite as well done was Mr. Sydney Lotte's only appearance in a solo number, “The Mariner in His Barque,” Mr. Lette being also called upon for participation with Mr. Vincent in the convincing duet, “1 am tho King of Spain,” and the trio, “Remorse and Dishonor,” with Miss Fanning and Mr. Vincent. Among the other concerted numbers which gave most pleasure to the audience were “Health to tho Lady” (Miss Fanning, Mrs. Smith, and Messrs. Mercer and Vincent); “Ah Confusion!” (Miss Robinia Cook and Messrs. Mercer, Hockley and Vincent); and “See the Culprit” (Mrs. Smith and Messrs. Nicholson, Vincent, and Hockley). Fine as the individual and concerted singing was throughout the evening, the production could not have achieved so high a standard without the excellent background provided by the chorus of 60 voices, which from the opening number, “Sing. Pretty Maiden, Sing," to the finale of Act 111, “With Rapture Glowing,” was remarkably successful. Among the intervening numbers of particular merit were “That Voice, ’tis Hers,” closing Act 11, “Farewell, My Gallant Captain,” and “Oh, What Pleasure"; while in the “Angelus” chorus the audience recognised with keen appreciation a splendid rendering of an old favorite. To the advantages of first-class soloists and a carefully-balanced chorus, the production also added the music of a large and well-rehearsed orchestra, led by Mr. W. Lighten, and with Miss Muriel Smith at the piano. The orchestra, was rehearsed in part by Mr. Wilfrid Kohn, deputy conductor,' and was conducted through last night’s performance by Mr. Wcllbv, with conspicuous success. All associated with the performance are to be congratulated upon the outcome of their efforts, and may feel assured that future productions of the. society will enjoy enhanced’ support from the public.