GOUNOD'S "FAUST."

Dominion, Volume 9, Issue 2815, 5 July 1916, Page 8

GOUNOD'S "FAUST."

ROYAL CHORAL UNION CONCERT. For the first concert ot' the newly-con-stituted Royal Wellington.Choral Union, Gounod's ever-popular and wonderfully melodious opera "t'aust" was giveu. This famous opera, written round an old legend made. immortal by Goethe, and which has been seized on by poets and composers of all-.times as a tnewe for imaginative treatment in many forms, Uouuocl succeeded in investing tho old, old story with 'a beautifully human atmosphere, whilst offering to the world & work nglow with melody of a highly inspirational quality. Though it offers splendid facilities for dramatic' treatment, it is not un6uitod to performance in concert form, and has been sung all over tho English-speaking world in that l'ortn. For the Wellington Choral Union's performance the Toivn Hall was packed to ! the doors. Most people of uinture age have their ideals of "laust," and it was rather unfortunato that the union did not succeed in realising them last evening. The chorus was strong enough in-numbers, and had the required volume, but it was not sure of itself in many places, was weak in attack, and generally unsteady: Here and there one would hear a burst of choral sound that was uplifting; on the other hand, there were kdiaky passages that caused positive discomfort, and dragged out dirges in place of bright, crisp choruses reflecting the brighter side of life. This was tlip case in the first act, where the songa of the maidens and reapers disturb the morbid imaginings of "Faust." The "lCerinesse" music, too, could have been more brightly treated. The waltz was fairly well sung,'and, after a weak beginning,, the famous "Soldiers' Chorus" warmed up to something like the real thing in the last ten or twelve bars. The orchestra struggled through, but on the whole were evidently short of rehearsals. Coming to till) principals: Therfc were some bright spots—and others. Miss Elsy Treweek, of Melbourne, a cultured, clear-toned soprano, sang .the music of Margarita in the most delightful manner. It was'a real pleasure to hear an artist sing such an all demanding role without the music, absolutely certain of every note, every phrase planned with intelligence, sung witnout effort and with just the right intonation. Miss Treweek made an impression in the first line she sang, and had the other principals been as well- prepared in their work the performance would have been in many respects a notable one." She sang the "King of Thule" with .charming simplicity, suggesting most admirably the double thread of thought running in the girl's head as she sits at her spinning wheel, and the "Jewel Song" was sung with resourceful artistry. Her simuiatiou of madness in the last act was subtly conveyed, and she sang the solo "Angel, in Heaven Blest," which culminates in a top C sharp, with fine effect. Of the other principals Mr. .Frank Charlton was much , the best. Valentine is exactly suited to his musical voice and temperament, and though lie was suffering from a cold, he sang "E'en Bravest Heart," and the death music with, real feeling. Mr. Frank Graham, of' Dunedin, ,as Faust, was palpably overburdened. He strained. most painfully, and the beautiful duet w"ith Margarita, in the garden scene, found him wanting to a distressing degree. Mr. Hamilton Ilodges is not. vocally well enough equipped to do justice to the. important role of Mephistopheles. Temperamentally he has a good conception of the Evil; One as Gounod depicted hiin, but his voice was husky to. Degin -with and. was over-strained before his ; taskwas through. Miss Eileen, Driscoll ; sang, the music of Siebel sweetly and in- good taste, -but Miss Rene Goyder-'was, less successful as Martha, and was . found . wanting in the .concerted passages.. Mr. Chas. Moore was quite good as Wagner, singing the. music with spirit. The performance was conducted by Mr. Robert Farker.