"ELIJAH."

Dominion, Volume 6, Issue 1827, 13 August 1913, Page 8

"ELIJAH."

ROYAL CHORAL-SOCIETY. Tiie great audience which completely filial tiui 'I'own Hall la:-: evening had every reason to l>e pka-jod with the Royal Wellington Choral Society's perlormanee of Mendvlh-olin's famous oratorio, "hlijah." From start to finish the singing was uniformly excellent, and reiiected the greatest craiit 011 the members of ine society-and th::ir conductor, .Mr. Christian il'jlkiiu'.un. "Elijah" has b-en Ming to often in tho Dominion that a realty ;;cad pcTlorinance is nece.-'-yry if the society is not to lose i-amo part of its reputation liy comparison with former renderings, Imt it is safe to say that tliero was little in last night's jierfonnance which was not up la tlio best .New Zealand standard. Una thing at lrast was apparent, and that was the enthusiasm of eviTycne concerned with the production. It uas obvious iliac every eara had been bestowed on the preparation of tiie work, ami that the hearts of all were in it. The rts-ult, of course, could not be otherwise than crcditahlc..

The most interesting feature of the performance was the reappearance of Madanu) Mary C'only, wlio sang the soprano solos in Haj-Un's "Creation" some days ago. '.Madame Conly, who received a must hearty welcome, was excellent ill the divine aria.s of Mendelssohn's dramatic oratorio. Madame Conly's first solo was tho recitative, "What Have I to do with Thcer" in which the widow tells Elijah of her grief for her stricken son. One could not but 'appreciate the depth of thu widow's affliction in the lines, "I go mourning all the day long; I lie down and weep at night." Then followed her great burst of thanksgiving at the miraculous raising of her i-on Irani the dead. As. Madame Conly rendered it, the song breathed the very spirit of maternal love, than which there is no sweeter or more beautiful human emotion. Madanio Conly's greatest triumph was- the rendering ,of that beautiful air-which opens the second part of tho oratorio—"Hear ye, Israel." The •sweetness of her voice", t lie correctness of her rendering, the "intelligence" of her interpretation, tho sincerity of her feelings all combined to raise the audience to a great pitch of enthusiasm. At the conclusion of the succeeding chorus, "Be not Afraid," Madame' C'only was. heartily ap-i plaudcd. Madame Edith Brainsby, the principal contralto, also acquitted herself with credit. Her first nuinbar was tho duot with Madame C'only, "Zion .spreadetli her Hands." The duet 1 was a veritable triumph for both singers. They understood each other perfectly, and itlieir lich voices blended most sweetly, giving 1111 added charm to one of tho most beautiful melodies in the whole work.- This duet was certainly 0113 of the finest performances of 'tnc evening., Madame Brainsby's best work was her singing in the, part of Queou Jezebel, when she ftougliit to stir up the people of Israel to ulay tho prophet. The singer's innate artistry" was apparent ill the fire of her The beautiful and well-known air, "0 Rest in the Lord," was also sung in tho most pleasing manner. . 'l'lie deep, rich tones of Madame Brainsby'-s voice were admirably suited to what is one of tho most popular numbers in oratorio. Tlio audience paid a great tribute to the singer as,she finished what was undoubtedly one of the best numbers in the even- - ing's performance. Madame Brainsby certainly shared with Madaino C'only the chief honours of tlio evening. Mr. John Prouse is already well known 'to Wellington audiences as a sound interpreter of oratorio arias, and his work in "Elijah" last evening was artistically good' all through. He was excellent in the challenge to the priests of Baal to a "trial of strength" between their deity and the Lord Clod of Israel, and in his daring denunciation of King Abab. In these numbers, Mr. l'rouse allowed some play to his dramatic feelings, to his own great advantage. Of a different nature was the recitative, "0 Lord, X Have Laboured in Vain," a sad, haunting strain well suited to Mr. l'rouse's voice, and one to which, he did ample justice. There is a very heavy evening's work for tlio bass soLoist in "Elijah," and it is to Mr. Prouse's credit that ho, sang his last solo, "Night tialleth Around Me" the same vigour which characterised his opening recitative, "As Uod the Lord, of Israel Liveth."

Mr. Harry Phipps, the tenor soloist, has a sweet voice, but it is perhaps a trifle 011 the light side for the exacting work of oratorio. His first rccitative, "Yo People, Rend Your Hearts," was well sunc, but hi 9 voice tired somewhat towards tho end. Mr. I'hipps's best rendering was of the short recitative, "Seo Now lie Slcepeth." His work was lacking in the spirit which comes of tlio long experience of, say, Mr. Prouse. Two members of tho society gave assistunco in concerted numbers. They were Mi's. E. Davie, who was associated with Mcidames Conly and Brainsby in tho trio, "Lift Thine Eyes," and Miss Nellie Castle, who took part with the abovementioned three' ladies in the quartet "Holy, Holy,' Holy." Both these numbers' were very indeoil, the effect of the latter being considerably heightened by the accompaniment of the chorus, which was admirably managed. Tlio work of tlio chorus throughout was admirable, tho various scclious being very evenlv balanced. The chorus was skilfully "handled by Mr. Hclleniann, wlio displayed 11 keen appreciation of the great possibilities of tho work. One of tho finest items in the performance was the grand double chorus, "Baal, We Cry to Thee," which was rendered with fine spirit. The chorus also acquitted itself with crcdit in "The Eire Descends From Heaven," a richly-coloured number, with considerable dramatic possibilities. All innovation was the singing by tho chorus of "Cast Thy Burden D poll the Lord," usually rendered as an unaccompanied quartet. Tlio subdued pianissimo passages of this beautiful number wero exquisitely rendered. The choruses. "Be Not Afraid," "Behold, God tho Lord Passed By," and "Lord, Our Creator," wei>o all sung in a most creditable man-

ner. Tho work of the orchestra addtd greatly to the general effect of the performance. The line overture was skilfully played, while tho accompaniments were uniformly intelligent, uml pleasantly subdued. Tho general impression left 011 0110 by tho whnlo performanco was that the Focietv had given of its tost, and that the oratcrid had been rendered in a n,ianner well worthy of its fine traditions.