ENGLISH DRAMATIC MUSIC

Taranaki Daily News, 14 December 1932, Page 9

ENGLISH DRAMATIC MUSIC

“BRIDE OF DUNKERRON” CANTATA CHORAL SOCIETY’S CONCERT. . . Just about the time when Taranaki, was struggling through the conflict with the Maori industrial England was awak- ‘ ening to a realisation that there could be something more in life than successful trading or high wages. Musical festivals became part of the social functions of the larger cities, and for one of these —at Birmingham—a London organist, Henry Smart, had written a cantata which he hoped would bring him. fame. It did, but all his success could not avert the blindness with which he was threatened, even while composing the work for the Birmingham festival, Smart’s cantata, “The Bride of Dunkerton,” was the work chosen for the third concert of the New Plymouth Choral Society’s, twelfth season given at the Empire Theatre, New Plymouth, last night. • The story might almost be termed an Irish edition- of the old fable of Hermes and Aphrodite. The Kerry Lord of ; Dunkerron loves a sea maiden> and be* cause she cannot" quit her element he follows her to her spirit home. But she is doomed to death for loving a mortal and re-appears to her lover only to announce her fate, fie ,is cast back to the shores of the upper, world. The music of the cantata is, like- its period, full-bodied, with no excursions into the unknown or bizarre, opulent, dramatic, with charming accompaniment for solo work, equally charming part songs and splendid opportunity for chorus effects and support. The Bride of Dunkerron is a work which makes full demand upon all concerned In its presentation, and the New Plymouth Choral Society rose to the occasion remarkably Well, Of the soloists Mrs. R. Rankin succeeded best. She had the voice, the manner, the enunciation, the dramatic touch, which all combined make the difference between good and bad interpretation. With the first duet in which she took part the feeling of satisfaction began, in the aria “Beloved” it became certain, and the same high standard of performance was maintained in the final trio, a fairly exacting piece of work. . . — ~ Mr. J. Battersby as the Lord, of Dunkerron sang with ease and correctness. His is a pleasant voice of considerable range, but his interpretation seemed to lack fire. It was smooth, but at times, the dramatic appeal - the words demand? ed seemed absent. . - !

Mr. Ron Gilbert, the Sea King, was in good form. His strong voice suited the more tragic moments, though one could have wished he also had let himself go when something more than mere emphasis was demanded. It was a good performance, nevertheless. The chorus work was good. There was just a little slurring in the first two efforts, but from then on response to the leader was prompt, decisive and very effective. The male portion suffered from lack of numbers and from an apparent hesitancy in making' the most of the strength it had. AU the same an appreciation of the spirit of the cantata was shown, and in the number “Hail to thee” the lady members of the choir must have rewarded their leader for his many hours of hard work. ™ , The orchestra, led by Miss Evelyn Dowling, with Miss Aileen Horner at the piano, did exceptionally good work. The cantata relies a good deal upon the accompaniments, and the reliance was not misplaced last night. Miss Homer’s task was long and trying, . but never a moment did its freshness and quality, fail. • ■. ' ■.

The second half of the programme consisted of excei'pts from Mendelssohn’s unfinished opera Loreley.. It-is a setting of the old story of the love of the highborn man for tire lowly maiden. Their parting is inevitable, and sorrow and the desire for revenge make war in the heart of the deserted girl. The soloist, Miss Ivy Campbell, put herself on excellent terms with the audience when she sang the lovely Ave Maria, which is part of Loreley. In her solo with the. chorus which concluded the programme Miss Campbell sang with sweetness and with the sense of contrast the theme , demanded. The ladies' chorus considerably assisted the soloist in the interpretation of the Ave Maria, and the final chorus of the evening was one of the best of the whole performance. ; The musical director and conductor, Mr. R. Laurie Cooper, had every reason to congratulate his choir- and himself upon last night’s programme. Both portions of it made heavy and continuous demand upon the conductor. It was never lacking. There was restraint or stimulus where either was required. There was displayed, ■. in short, real leadership and real training.