FINE CHORAL SINGING

Southland Times, Issue 25546, 14 December 1944, Page 4

FINE CHORAL SINGING

HANDEL’S “MESSIAH” The climax of the year’s work for the W.D.F.U. Choral Classes was the combined presentation in the Civic Theatre last night of Handel’s “Messiah,” assisted by singers and an orchestra from the city. Much credit for the successful welding together of the many groups taking part in the presentation is due to the able conducting of Mr James Simpson, tutor to the W.D.F.U. classes. The performance of soloists, chorus and orchestra was very fine, and, with few exceptions, marked by a sympathetic appreciation of the theme of the oratorio.

The choruses were sung with vigour and confidence, and if there was at times a lack of unanimity, and if some parts, especially the basses, occasionally missed their leads, these were minor blemishes in a fine performance. Some of the runs in “For Unto Us a Child is Bom” were indistinct, and there were many places where the very large chorus appeared unable to express the soft passages quietly enough. The irregular beat in “Behold the Lamb of God” was not clearly defined. However, such faults as these were overshadowed by the clarity and confidence that marked other choruses, especially the opening chorus, “And the Glory Shall be Revealed,” the fugual and tricky “All We Like Sheep Have Gone Astray,” the magnificent “Hallelujah” chorus, and the closing “Worthy is the Lamb that was Slain.” The orchestra played well, though it was somewhat ponderous and lifeless, a fault especially noticeable in the accompaniments to the soloists. It was not always in agreement with soloists and chorus regarding tempo. Lack of shading and missing of nuances marred what was otherwise an excellent rendering of the “Pastoral Symphony.” It was in the quieter sections that these blemishes were noticeable. In the more vigorous parts, as in the fugual section of the overture, there was a clarity and vigour that left nothing to be desired. The accompaniments to the choruses were very helpful to the singers, and marked clearly any parts which might have caused difficulty to the chorus. Miss Phyllis Mander, the visiting soprano soloist, possesses a voice that is full, yet light and lyrical. She sang “There were Shepherds Abiding in the Field” particularly well. Also, in “Come Unto Him,” she revived a flagging orchestra by the very brightness of her voice. Her “I Know that My Redeemer Liveth” was lovely. The other visiting soloist. Miss Rena Roche, contralto, sang with sympathy and an appealing softness. Her solos were “O Thou that Tellest,” “He Shall Feed His Flock,” and “He was Despised and Rejected,” the last of which, especially, she sang with deep feeling and a true appreciation of the possibilities of the music.

Mr Alfred Walmsley, who sang the tenor solos, is well known to Invercargill audiences, but it is doubtful if he has ever sung with more feeling than he did last night. His rendering of the opening “Comfort Ye My People,” and of the recitative “Thy Rebuke Hath Broken His Heart,” was of a transparent sincerity that took the listener to the heart of the message of “Messiah.” In “Thou Shalt Break Them,” Mr Walmsley sang with a realistic vigour that entered into the mood of the number. It was the first appearance as a soloist in a major work of Mr Ross Hewton, who took the bass solos, and he did full justice to the rather difficult passages in his solos. He has a tendency to cloud his words, which suited the mood of “For Behold Darkness Shall Cover the Earth,” but which weakened the exultation of “Why do the Nations.” He sang “But Who may Abide the Day of His Coming,” with vigour, and force. The programme opened with a rendering of “God Defend New Zealand,” arranged and orchestrated by James Simpson, the solo parts being taken by Elizabeth Walker, who has an efficient and pleasing voice. The pianist was Mrs J. Simpson. Profits from the performance are to go to the Southland Patriotic Society.— DORIAN.