St Matthew Passion

Press, 12 April 1979, Page 4

St Matthew Passion

By

C. FOSTER BROWNE

The Royal Christchurch Musical Society, conducted with dignity and expertise by Robert Field-Dodgson, gave its annual performance of Bach’s St Matthew Passion last evening. The singing of the choir was fully up to its customary excellence in all matters of musical discipline and in balance and resonance. The interpolated chorale singing with arias and extended recitative passages sung by soloists — tenor and, for the most part, alto — showed command of sensitive phrasing and of permitted volume. This was particularly fine singing reflecting favourably on the singers and on Mr Field-Dodgson's training of the members. There was at this performance better balance of technique and standard of voice in the panel of soloists. The two main soloists — Kenneth Cornish, as the Evangelist, and Bruce Carson, as the Christus — both showed the benefit of long experience of this singing and fully lived

up to their customary excellence, giving vivid performances: stylish, reverent, and convincing. Martin Thomas sang the baritone parts of Pilate, Judas, the Chief Priest, Peter, and the others with well realised points of interpretation of these parts, singing with style and conviction. Patricia Middleton was a convincing and highly welcome addition to the ranks of those who have sung the soprano part in this work. Her voice had strength, clarity, and quality and she was able to draw from the audience moving response without sentimentality. Judy Bellingham was also a newcomer to the contralto part. Her rendering of it was in many ways exceedingly beautiful, particularly in the aria, “Have Mercy," sung with violin obligato played exquisitely by Paulene Smith, the leader of the orchestra. This music gave Miss Bellingham opportunity to project the full beauty of her voice, which is really that of a mezzo-soprano. The flute obligato to the

soprano aria, “For Love My Saviour Now Is Dying,” was impressively played by Anthony Ferner. His stylish maintaining of tone at a vital level without allowing it to be loud, was splendid. Mrs Middleton sang this aria with moving sincerity. Peter Williams sang the difficult aria and recitative, “O Grief,” and “I Would Beside My Lord,” with confidence and skill. The orchestra, led by Paulene Smith, played with finish. Its tone and accompanimental skill were of high standard and of great help to the society’s performance. The chamber organ was tastefully played by Alison Edgar but the harpsichord, played by Wallace Woodley, unfortunately was far too weak in tone to be even moderately successful. This cannot have been Mr Woodley’s fault for we have many times heard him play the part on other instruments with excellent effect. It seems that the Town Hall instrument is a boy sent on a man’s errand.