“THE MESSIAH.”

Taranaki Herald, Volume LXVIII, Issue 16913, 9 December 1920, Page 3

“THE MESSIAH.”

'AN EXCELLENT PERFORMANCE. "Handel was the greatest composer that ever lived. I would uncover my head and kneel before his Tomb. ’ ’—Beethoven. When it was suggested a comparatively short time ago that Handel’s “Messiah” should be produced in New Plymouth probably a large number of people were rather doubtful as to whether such a work could be successfully produced here. There was really nothing to go upon, there was no organisation, no previously existing choir or musical body which could boused for chorus or orchestra. However, thanks to the energy and zeal of a few enthusiasts Jed by Mr. Laurie Cooper, and to tlio support of all those who took part and helped in the production it was shown last night that New Plymouth has some really good talent, and not only is credit due to the actual performance, but those who took part must have devoted a large amount both of time in attendance at rehearsals and in study of the oratorio. The attendance at the rehearsals throughout has been very good. Whether “The,Messiah” is the greatest work otCHandol and whether he is the greatest of composers, as was suggested in an article in this paper last Saturday, may bo doubted, but throughout England and her Dominions the rendering of “The Messiah” is now part of recognised Christmas tradition. It, has been performed at the great “Three Choirs Festival” in the West Country for many years and some of the greatest singers have taken part in these festivals. The principals last night were among the best singers in the Dominion. Miss M'Enroe, whoso beautiful soprano voice we heard recently in New. Plymouth, was singing music that she knows well and she gave a splendid rendering of the fine anas and recitatives, especially the “Rejoice Greatly” and “I Know that My Redeemer Liveth.” This was sung in an especially convincing way. The beauty and tenderness of “Come unto Him” was most appealing. Mrs. Basham, of Waipukurau, is always welcome to New' Plymouth audiences. Her rendering of “Ho was Despised” was given with most intense feeling and was one of the outstanding successes. Perhaps she was heard at her best in “O Thou that Tellest,” though her voice is not large enough for oratorio. The tenor, Mr, Hubert Carter, of Auckland, is, wo think, new to New Plymouth, as is also Mr. Frank Charles, of Wellington, the bass,, and they both showed that they are among the finest singers in New Zealand. Such an oratorio as “The Messiah” makes a great demand on the singer, not only technically, but also in feeling and interpretation, and Mr. Carter was equal to all these demands. His principal solo was the magnificent recitative “Comfort ye my People,” which was splendidly given. Of his other solos, '‘Every Valley” and “But Thou didst not Leave” showed an intimate knowledge of the composer’s expression of his great theme which was also shown in the impressive “Thou Shalt Break Them.” Many of the best solos in “The Messiah” are amongst the most famous pieces of musical composition such as the recitative and air “For Behold Darkness” and also “The People that Walked in Darkness” and “Thus saith the Lord.” These were most adequately rendered by Mr. Charles, but he was perhaps at his finest in “But Who May Abide," which was sung most impressively, especially the prestissimo movement at the end. This air is nowadays often taken by the alto voice. The triumphant music given to “The Trumpet Shall Sound” was also finely expressed by Mr. Charles. The work of the chorus was frankly a surprise: it had not been expected that they would produce such a volume of good tono, of such fine quality, wifi excellent attack and verve, nor that the conductor would have welded together so well what came to him as a number of voices that had never sung together. They* answered his demands admirably and both he and they are to bo heartily congratulated. The sopranos, were perhaps the best, while the basses were a little overweighted. In the chorus “For Unto Us,” the pronunciation “goverment” for “government” was a fault that needs correction, and a little more feeling for the pathos of “Behold the Lamb of God” was needed. “All We Like Sheep” and “Lift up Your Heads” were noticeably well sung, oven where all the choruses were good. Miss Douglas and Mr. lienand at the pianos did well, and their support of the soloists wag admirable, especially in view of the fact that these came to New Plymouth on the eve of the performance. Mr. Renaud’s success in sustaining the chords was evidence of his knowledge of the pianoforte.

The audience frankly treated the oratorio as a concert performance clapping throughout and sending up bouquets to the lady principals. Clapping comes as a shock after “Ho was despised” or “Thy Rebuke Hath Broken His Heart.” Handel in his first advertisement of “The Messiah” called it “a sacred oratorio” and so it is generally regarded. When George 11. first heard “The , Hallelujah Chorus” ho instinctively rose to his feet, as since then all audiences do. Of course the oratorio really demands an orchestra, though Handel in his choral work gives the Voices the first consideration, which is just what most modern composers do not do. To get together such a chorus in New Plymouth was in itself as arduous as it was commendable and to have raised an orchestra, at any rate in the time available, was impossible for such a work as “The Messiah.'( The work of the conductor, Mr. Laurie Cooper, showed that he had taken great pains in training his choir, and Now Plymouth is indebted to him and to them. The hall was absolutely full and should be us full to-night, when the performance will be repeated with the same principals.