THE SHEFFIELD CHOIR.

Dominion, Volume 4, Issue 1169, 3 July 1911, Page 5

THE SHEFFIELD CHOIR.

"ELIJAHS 'A' GREAT TRITJMPH. It ,is eafo to assume that Saturday night's performance of Mendelssohn's "Elijah' was tho event most eagerly awaited in eoanection with the visit of the Sheffield Choir. The popularitf of the great oratorio, tho opportunity of hearing its interpretation by n prominent English uutbority, and the augmentation of the renowned Sheffield Choir by local-ly-trained singers to proportions which suggested n lMdy of vocal music previously unheard in Wellington, accounted for this. Now that the event is over, it is equally as wife to assume that, generally speaking, there are only pleasurable, recollections, p.nd very few disappointments. 1 hero were features which detracted from the full success of (ho performance— features, which, though of minor degree, were more or less regrettable, but which,' since /it was necessary that lie choir shoulfi do great travel feats, wore, quite unavoidable.

Mendelssohn, when preparing his groat wo'.k, frequently dwelt upon the fact that w tli such a subject as ho had chosen the dramatic olement'should predominate; *.md his libretto was arranged with that object. T.his feature was brought out by Dr. Coward in the fullest degree, and not only by the choir, but also by the 6oloists. but, though predominating, it was not allowed U> mar or overshadow tho sacred nature of tho subject or to detract from its traditional dignity. Effects woro sought and obtained which were a revcl.v ,m "' ,ras a, *< st ™HK aud forceful, lho open-jig chorus, "Help, Lord," was almost startling in tho reality of its appeal, and m this chorus also tho tenors, who tell, out tho piteous condition of tho nation, were delightfully .sweet and pure. In one or two of the succeeding choruses tlioro was a suggestion of etl'ort about tho singing, the sopranos in particular teeming hard on tho upper notes. But this becamo, less noticeable as tho work proceeded. The famous "Baal" chorus rang put with fanatic fire, and remarkable indeed was the effect of tho concluding invocation, \y.hen the voices dropped suddenly to the merest whisper in lepresenta- , Hon of a far-off echo, In the beautiful prayor for rain the swelling crescendo lx>autifuUy depicted the new fervour of lho humbled people. Finally- thu first part of the oratorio ended with a great burst of song in the chorus "Thanks bo to God." One of the most notable choruses in tho second part was "Behold, God tho Lord passed by." It was taken very quickly, and in the accentuated sibilants one could seem to hear the rushing of tho wind. In other choruses delightful and lolling sustained harmonic effects were attained. These instances indicate tho magnificence of the choral work. Tho double quartets were not quite so successful, there being a tendency lo become, flat, no doubt a result of tired voiccs-in fact, an inevitable result. The soprano soloist was Miss Jcnnio Taggart. She has in some sense an exceptional voice. At first one is inclined, to dislike her method of production, or else the singer was not at her best, but this feeling disappears as tho results' ehc obtains are noted. Her upper register is clear aud bell-like, aud she has a wondorfullv compelling crescendo. Several times this was used with great dramatic effect. At the last moment Miss Alico Heeley replaced Miss Gertrude Lonsdale as tho contralto soloist. Though Miss Heoley's singing was greatly appreciated it was disappointing that one of tho chief artists of the company was unable to lw heard. Miss Heeley has a full round voice, and her enunciation was clear iind distinct if sometimes seemingly a trifle exaggerated, but'her work was always appreciated. It was a great delight right through tho piece to hear Mr. Henry Turnpenny's tenor voice. The recitative To People Rend Your Hearts," and tho succeeding air, "If AVith All Your Hearts," were perhaps tho most appre:iated individual efforts of tho production — those and Mr. Charlesivorth's "It is Enough." In ill Mr. Turnpenny's _ succeeding lumbers thero was a flaunting, sweeticss. On the part of Elijah much 1 ho-'* «ssarily depends. In Mr. Robert Charlesvorth, Dr. Harriss has a singer who does ;ho part full justice. There may bo Elijahs with stronger, voices, but few :ould bo selected to give a more sympathetic or manlier interpretation. In he favourite number, "It is Enough," Ur. Johnson accompanied him very offecivcly on the 'cello. Mr. Charlosworth's iart was heavy, and his solos numerous, md it must bo sufficient to say that ho calieed all ideals of tho part. Between tho orchestra and the chorus here was at times an undoubted want f sympathy. But on lho wholo the orhestra did very good work, which is tho aoro praiseworthy considering the ecant pportunities it has had of gcttiug toetlier. . As was expected, c.vory seat in tlio mil was occupied. His Excellency tho lovcrnor, Lady Islington, and their euita -ere present.

THE CORONATION CONCERT. Conforming to the promiso mado by Dr. Charles Harriss a year ago, tho Sheffield Choir gave a popular concert at popular prices in tho Town Hall on Saturday afternoon. This particular function was called tho "Coronation Empire Concert," and to suit tho occasion tho Union Jack was waved vocally with great vigour in most of tho songs and choruses. On tho entrance of his Excellency the Govcrnor and Lady Islington and suite, the choir sang two verses of Elgar's magnificent arrangement of the National Anthem with great heartiness aid precision. Dr. Harriss's "Imperial Greeting '.Empire of the Sea," discovered that musician in a much more melodious mood than m his "Pan." Mr. Fletcher's patriotic chorus (which was awarded the fiist pnzo of .£SO in Dr. Harriss's Empire competition) more nearly approaches the ideal in tho patriotic part songs. It was when the Choir sang a trio of old-Umo part songs that its musical worth was made fully manifest. These were The Hells ot St. Michael's Tower (luiyvottStewart), "You Stole My Love (a fmo old English catch, sung with delightful humour and abandon), and 'Comrades Song of Hope" (Adams), a new Arrangement bv Mr. Fletcher of our old friend "Comrades in Arms" usually sung by malo voices only, but on this occasion most beautifully sung by tho whole choir. Tho final chorus was Elgaru fine epilogue and march "It Comes lrom tho Misty Ages" (from "The Banner of Si Ocorec"). a floridly-written, yet straightforward chorale, magnificently suggesting pride of race and lo\e of count -v. The Choir (wit h the audience) al™ wine Kipling's "Recessional to Byte's tune (used in the hymn "lor Those in Peril on the Sea ). Tho concert introduced the audience to a new soloist in Lady Norah Noel who elected to make her debut in Welling on i„ the aria "One Fine Day," from tho vcond act of Puccini's open "Madamo But ertly," which she sang in the original Italian Ladv Norah has a nice wcllcultivaiod soprano voice which was "ever intended for aria-singing, as t. quality of coloraturo so essential in cine-. Honal vocalism. In answer to a recall thesinwr produced "Come back to Erin.' Mr. Wilfrid Virgo, the Croydon e,"r, sang "Let Me Like a Soldier hall. ™m'Wallace's "Maritana," and sang it in r ngiinr style, taking (ho optional high ,o( 0 at the end with ease. Wit, Ufa Norah Noel. Mr. Virgo sang Sniliyan s beautiful duet, "How Sweet the Moonlieht Sleens." and tho old familiar duet, "Co and War" with Mr. Roller Chignell The latter vocalist contributed the solo in "Sing. Britain's Sons.' a patriotic song and chorus written by Dr. Harri". and a number likely to he, popular "when tho blast of war blows in our cars." _^__^____