New Zealanders In Leading Roles Praised

Press, Volume CV, Issue 31001, 5 March 1966, Page 24

New Zealanders In Leading Roles Praised

Overseas critics singled out three New Zealand artists for special praise for their performances in leading roles in the last week. In New York, the bass Donald Mclntyre won critical approval for his singing when making his American debut in the title role of the Mendelssohn oratorio “Elijah.” In London the Christchurch soprano Marie Landis was

cheered after her debut in the name role of “Maria Stuarda,” a Donizetti opera in its first British performance. In London the actress Vivienne Martin virtually stopped the show several times in the new musical “The Matchgirls.” Alan Rich, writing in the “New York Herald Tribune,” described Donald Mclntyre’s singing as “the evening’s only real excitement.” “Mclntyre, who now sings with the Sadler's Wells Opera Company, is in the tradition of the great, robust oratorio basses who have helped keep this music alive in England,” he wrote. “His voice is wonderfully pure, and beautifully in focus from top to bottom. His diction is exemplary. He is a singer of power, glory, majesty and dramatic power.” “Impressive Voice” Harold C. Schonberg said in the “New York Times” that the singing throughout was consistently good, “though none of the other participants matched the clarity of Mclntyre’s diction. “He sounds like a sturdy singer, with a big impressive voice. Often, though, he was a shade off pitch in sustained notes,” the critic said. “Thomas Schippers, back on the Philharmonic podium for a month, conducted in a clearcut manner, and the Camerata Singers gave a beautiful account of the choral sections. It was a fine performance all the way through.” Marie Landis, who sang in Christchurch as Marie Sutherland, sang in “Maria Stuarda” to packed houses at the St. Pancras Festival. “The Times” described her singing as • “exquisite,” and predicted that the “warm, vibrant yet smooth soprano must be a valuable acquisition to British opera.” Peter Staden in the “Daily Telegraph,” said: “Marie Landis’s Stuarda was a great part worthily taken. Especially in her first scene I enjoyed her liquid tone annd the way she imparted musical sense to ornaments.”

The “Guardian” said: “The performance was dominated vocally by the Maria of Marie Landis, beautiful in natural tone colour and well in style.” And the “Financial Times” noted: “We will certainly hear much more of her, for she has a warm, full, beautiful voice, and uses it sensitively.” Matchbox Striker Vivien Martin, a Kaitaiabom actress who came to Britain on a New Zealand Government bursary in the early 19505, scored a personal triumph in “The Matchgirls” at the Globe Theatre. She played the role of Kate, leader of a strike by girls in an East End match factory in 1888. She received a loud, long and noisy ovation at the final curtain and London theatre critics predicted the show would run for a long time. Sought For Tour Three Maori members of fhe New Zealand Opera Company's production of “Porgy and Bess” which is touring Australia, have been asked to go on tour with an international theatrical company which is being formed in New York at the end of May. They are the Maori bass, Inia Te Wiata, Don Selwyn, of Taumaranui, and Sam Stevens, of Opotiki. Negotiations with the American producer, Ella Gerber, are continuing, and the three have made no decision yet.

Inia Te Wiata has made a tremendous impact in Australia with his portrayal of the cripple Porgy in Gershwin’s opera, which is now playing at the Perth Arts Festival.

Don Selwyn was prominent in amateur theatre in Taumarunui before going to Wellington where he appeared in Unity Theatre and New Theatre productions. He was the only Maori selected to attend a theatre actors’ school run by Dr. Paul Baker, of Dallas, in Wellington, in 1964. He toured with the New Zealand Opera Company’s productions of “H Trovatore” and “Don Giovanni” last year.