Music & Drama.

New Zealand Illustrated Sporting & Dramatic Review, Volume II, Issue 61, 24 September 1891, Page 1

Music & Drama.

Spectatum admissi risum teneatis amici ?

Owing to pressure on our space I was compelled to hold over my notice of Gade’s “ Crusaders,” given by the Auckland Choral Society last week. That work—perhaps the finest which the composer of Psyche, Comola, etc., has produced —was most satisfactorily rendered and enthusiastically received by a packed audience. Mr. Hudson, to whom the bass part (Peter the Hermit) had been assigned, was unfortunately unable to sing, owing to a ■

severe attack of quinsy, but Mr. Brett, at very short notice, filled the gap, and although his voice is of scarcely sufficient volume for the music, sang pluckily and correctly, winning a unanimous verdict of approval. The muster of performers proved the popularity of the piece. I counted fifteen tenors, twenty-eight basses, twenty-nine altos, and fifty-two sopranos. The band, too, showed up well in strength and efficiency. To Miss Alice Rimmer was assigned the mezzo-soprano part of “ Armida.” Although I have heard her in better form at some rehearsals, I must award high praise to this young lady for her singing. Her best efforts were in the declamatory numbers, which she delivered with energy, precision, and intelligence. As her enunciation is not always perfect, I think she would do well to follow the method prescribed by the best authorities, who get their pupils to learn and recite passages of Shakespeare. The facility of elocution acquired by such a practice is found to be invaluable to singers. Miss Rimmer at first displayed that nervousness which is really evidence of a truly artistic temperament, and consequently the tremolo revealed itself rather more frequently than is strictly permissible; and to the same cause may in a measure be attributed her too lavish use of the portamento. But gaining more confidence as she warmed to her work, both method and effect improved, and she deservedly won loud plaudits for a very conscientious, tasteful, and impressive rendering of the most difficult part she has yet attempted. Her sympathetic voice, and almost perfect intonation, always afford real enjoyment, and with perseverance and attention, to a chaste and correct method, elle ira loin. Mr. George Reid as Rinaldo quite excelled himself, and sang splendidly, notwithstanding that the part is an extremely trying one, and in places hardly within a baritone’s legitimate compass. In enunciation and voice-production I noticed a marked improvement upon his work during the rehearsals. The choruses throughout showed evidence of careful training on the part of Herr Carl Schmitt —light and shade, volume, intonation, leads, and precision being admirable. Especially good were the introduction and chorus in part two, “ Silent, creeping, is Night,” working up to a splendid crescendo and diminuendo effect on the words “Us Armida is calling; ” and the lovely song of the Sirens, “ The wave sweeps my breast.” The orchestra did excellent work, playing the descriptive music and the “ Dance of the Spirits ” very effectively. Ruy Blas was also

creditably rendered. I regret that the exigencies of space compel me to condense my notice of one of the best and most successful performances ever given by the Society. Herr Carl Schmitt conducted with his wonted vigilance and individuality. Herr L. Tutschka as leader and Miss Harding at the pianoforte were as efficient as usual. “PRINCESS IDA.”. “ Everything you do still betters what is done” might truly be said of the Auckland Amateur Opera Club. To attempt a piece which unlike most of its predecessors does not set itself, but depends for its success almost entirely upon the histrionic abilities of the performers, might be characterised as . vaulting ambition,” which “ oft o erleaps itself. Happily, however, in this instance ambition has fallen upon its feet, and not “ on the other side.” To a sympathising spectator, witnessing a “ first night” is always nervous work. It is so especially when one knows that the first act of the new’ production is not nearly so strong as the succeeding ones. The strain and anxiety are now over, the piece has run smoothly, some minor blemishes have been detected which will be tackled and disappear during the season, and audience and performers alike seek their -virtuous couches with a blessed sense of relief. In the cast sound judgment has been displayed. It could scarcely have been bettered, save perhaps in one instance. I much regret that Mr. Percy Dufaur’s services were not available. If he could have undertaken the role of Hildebrand —a part which is not quite congenial to Mr. Edmiston —the ensemble would have been strengthened. I am, however, sure that the present Hildebrand will greatly improve during the run of “ Princess Ida,” especially when he has got rid of a troublesome cold, which renders his enunciation indistinct and heavily handicaps his vocalisation. In other respects — dress,

deportment, emphasis, accent, action, and a right conception of role, Mr. Edmiston showed great intelligence, and was eminently satisfactory—although as I said before the part is not one of his best efforts. Having mentioned the only part of the performance which falls below a very high standard, and accounted for a deficiency which is due to circumstances and not to the performer —whose general ability has been proved over and over again—l will pick out some of the plums. To begin with I cannot too highly praise the scenery, mounting, dressing, and stage management. Mr. Neville Thornton’s three scenes are delightful in con-

ception and harmony. The pale slatey-blue tone in the first scene (King Haldibrand’s palace) is exquisite, and with the tasteful dresses makes a ' colour-feast which is delicate and delicious. The other scenes are equally clever and effective —the court-yard and battlements in the last act being magnificiently done, and the gardens of Castle Adamant in the second act, with the rural bridge over the brook in which the Princess takes her involuntary bath, rivalling in effective beauty the scenes already described. Now for the plums in the order in which they occur. Everybody must really go at least ore night, so I beg my readers to pay especial attention to the following gems. Early in the first act the chorus made a splendid hit with the “ Hip, Hip, Hurrah !” Next Mr. T. M. Jackson sang “Twenty years ago” in great form, and received an undeniable encore. King Gama’s grotesquely arrayed warrior-sons (Messrs. J Worrall, Pullan and W. Eady) are a decided hit. An unrehearsed incident —a loose greave on one warrior’s leg —delighted the gods, and if anything added to the success of an extremely funny situation. King Gama’s (Mr. A. Taylor) patter song is splendidly * delivered—his get-up, facial play and gestures, coupled with a crisp and clear enunciation, winning a tumultuous encore —“ I’m such a disagreeable man and I can’t think whyl” He is not so to the audience undoubtedly. If anyone ventures to say that he is, well —“I can’t think why 1” “ Most politely, most politely !” by King Gama and chorus is simply perfect. Gilbert’s humorously pointed lines in the dialogue are keenly enjoyed; the gentle sarcasm “ crowing is done by an accomplished hen.” hitting the bull’s eye as usual. The “ Dainty Triolet” trio and chorus is a gem, the graceful swaying movement of the ladies and their swains producing one of those charming effects which the eye loves to dwell upon. Another triumph is the “ Rum, turn, turn,” trio and

chorus, with a clanging and rattling accompaniment of the prisoners chain and armour — which is an extremely effective and happy notion —making a capital finale. In the second act the piece strengthens, and all warm to their work. Psyche’s (Miss Maud Harper) “Mans a donkey, man’s a goose,” is capitally given. The chorus “ Mighty Maiden 1” is first rate. Princess Ida’s (Mrs. Cooper) entrance and invocation to Minerva, as well as all that clever little lady’s work in a very arduous role, were dramatic and effective. Lady Blanche s (Miss Reeve) witty monologue —two and two make five, etc. —was splendidly delivered, and her “ Come, Mighty Must,” musically one of the feats of the performance. All the work done by Hilarion, Cyril and Florian is good and shows careful study, the bye play being especially ingenious. Their solos and trio are superlatively excellent, and the lovely tutti “The world is but a broken toy,” received an adequate interpretation. Lady Psyche’s song “ Ape and the Lady ” was deservedly added to the long list of encores. The magnificent quintette and quaint dance given in great form by Psyche, Melissa (Miss Lizzie Warren), and the three “ mashers ” brought down the house. The beard and chin business between Melissa and Florian was artistically funny. Lady Blanche and Melissa made a hit with their duet and graceful minuet dance, “ Sing hoity-toity,” one of the most catching airs in the opera, and in Sullivan’s happiest manner. Cyril’s (Mr. G. Reid) “ Kiss me ” song is capitally given, but the colour of his dress gives him a somewhat ghastly look, and I should advise a warmer tint if it be not to late too make the change. Cyril should look jovial, and it is difficult to do that in a sickly green tunic. Space compels me to close for this week my notice of a grand allround performance, which will command the success it deserves. The third act with its magnificent dressing and mounting—especially the Amazons in their helmets, cuirasses, and chain armour —I must reluctantly leave for further notice; but the “ Amazon’s March ” must be pronounced to be the very best thing ever done by amateurs on an Auckland stage. Musically the opera is excellently worked up, and is another feather in the richly-plumed cap of Herr Carl Schmitt.

The Payne family, so favourably known to Auckland audiences, commenced a season in the City Hall on Wednesday last. They will also give Suburban performances. Orpheus.