"THE MESSIAH"

Dominion, Volume 13, Issue 75, 22 December 1919, Page 5

"THE MESSIAH"

SUNG BY THE CHORAL UNION No choral work with a Scriptural text over written transcends the inspirational | piandoiir and surpassing beauty of Il;tn- | del's immortal mnstcrp ,: ece "Tho ties- j sin.li/' and it is a pretty custom to find | it Bung at this season of tho year in nearly every English-speaking centre in ]' Ihe world. Ent'lish-spoaking is men- . tinned by way of gratifying its universality, for hough Handel was a German, tho Germans have not the same earnest and soljer regard for oratorio that the British have, nnd the classic oratorios are unknown to tho general run of peopla in Italy and Franco, the sp'-oro formality of such musical presentations being teo tedious for the Lnliii i""i;x>rament. So it came about that it w.t: nfit until George of Hanover tor.lc Htui<'»l under Ins wing to England, that ttw musician found himself appreciated c.i sottiothing like hfs tmo value, aiul it was Dublin city which first heard and appreciated to the full "The Jlpreiah."

To the Choral Union the Wellington public has to extend its grateful tbar.l" for the annual performance of "'l'he r'?tfiah." That given on Saturday cvcuing, in the presence of a very larto audience, was- a notably good one. .As a nilo the performances of this work by the Union are creditable, but it is always difficult to maintain an even .standard all round in principals, chorus ami orchestra. This may be said to have been satisfactorily attained 011 Saturday evening, indeed, one could go a littlo further' and say it was the best all-round performance of the work given for some Decembers past. The chorus —and the fine chorus is essential to a proper regard for the author's in ton-' i ions—has been stronger. The sopranos were not so numerous as usual, which pedhaps made for bettor tonal balance, and the contralto section seemed spiritless in their leads. The basses and tenors were a good hard-working lot, though tho latter section could have lteon strengthened wit.i advantage, or perhaps the quality is kicking. One has

to congratulate tho orchestra on it? excellent work. In the not far distant past, a shaky, uncertain, nnnemio orchestra came almost to bo regarded as conventional. Since tho war ended this has ceased to be. The orchestra played like veterans, giving well modulated support to' the soloists, ami nico expression to tho unearthly sweetness and beauty of the _ "Pastoral Symphony," introduced in Hie oratorio after the birth c.f Christ has token place, immediately following Hie chorus "For TTnto Us a Child i'i Born." In mentioning tho orchestra Miss Laurie Anderson's good work an lender shoull not bo overlooked.

In selecting its principals the union was exceedingly well-advised. For tho first time in Wellington Jfi.'s Teresa MDnroo sang tho soprano music and did so with an intellectual distinction and reverential conviction thai: increases our respect for her powers. Miss M'Enroe's voice is something more than "a dulcet and harmonious sound." It is a fine virile soprano, under admirable control, not always too sweet in quality, but always sure as to pitch, always sound in emnhascs and phrasing. One great te.st of the intellectual equipment of a singer is tho power in giving life and meaning in recitative. Hero. >['>*! M'Fi.nroe excelled. She gave realism to the narrative in every instance, notably in the trio of recitatives commencing "There Were Shenlierds." For once, too, we have in Miss M'Envoe <1 singor who vocally "rejoiced" in tho solo "Rejoic<! Greatly.". She sang ivith grace and fine fervour "Hew Beautiful are the Feet" (Mr. .Alf. Truda providing tho flute obbligato) nnd the solos, "Come Unto ]lim" and "T Know That My Redeemer liiveth" Miss M r KnToe invested with a wealth of loftv feeling and fino musicianship. Miss Mabello Esquilant, a tall and graceful contralto, displayed a voice of excellent, quality—soft, rounded, velvety notes, embodying a fair stock of sympathy, Ju her opening recitative, "Behold a. Virein'," and air "O Thou That Telleft," the singer did not appear to have the measure of the hall, and tho voice did not register as powerfully as expected, biit any impression that tho power was not there was dispelled in hor next number, the recitative, "Then Shall tho F.yes of the Blind he Opened" and tho beautiful air "He Shall Feed ITis Flock," which was very well sung indeed, and earned the singer applause of great volmno. Mins Esquilant also gavo an impressive interpretation of that notable number "lie A\ T ns ])csp : sr-d," her rich lower tones being displayed to great advantage.. The tenor was Mr. Walter Whyto (of Sydney), who sang the musia with the old Koyal Choral Society hero about ten years ago. Mr. Whyto showed an accurate knowledge of lradil"'onal interpretation, and his pleasantly timbred tenor, of even quality, wa« one of the joys of the evening. He sang "COlll- - Ye." mul "Every Valley" with easy mastership; sang his reoitntives with fine intelligence, and lent conviction to the solos "But Thou Didvt Not Leave" ami

"Then Shalt Break Them." Mr. Prank C. Charles, who made his first appearance with the Uttion as a soloist, lias a powerful bass-baritone voico and acqnito.l himself very well indeed on tho whole. Mr. Charles gave a lino rendvng of the recitative 'Tor, Behold, Dnrkness," and the air "The Pfoplo That Walked in Darkness." He went a little astray in "Why Do tho Nations?" Chorally tho best efforts wore "And the Glory," "Glory to God." and "All Ws T/ilre Sheep" and "Tho Hallelujah Chorus." Tho attack was rather weak and the leads lethargic in "Hi,? Yoke is Kasv," and "Lift Up Your Heads." Air. 11. Temple White conducted with fmo decision.