“THE GOLDEN LEGEND”

Dominion, Volume 15, Issue 49, 21 November 1921, Page 9

“THE GOLDEN LEGEND”

WORTHY PERFORMANCE BY ROYAL CHORAL UNION

The third concert of the Royal Choral Union’s 1921 season will remain a memorable one. It was Hie first concert given since His Majesty the King had been pleased to bestow the distinction "Royal" ou the Choral Union, and the union responded by giving a truly royal performance of Sir Arthur Sullivan’s work, 'The Golden Legend,” one of the greatest English choral dramas extant. Why there should be long periods of disregard in respect to this work is difficult to understand. It may bo due to lapse of memory or unacquaintance with the cantata on the part of younger people taking up the management of euchl affairs in the musical sphere, but certain it is that once re-established in favour it goes the rounds, as it has in New Zealand during the present year, this being the third or fourth time the "Legend" has been sung, in each instance to large and enthusiastic audiences. The case was no different on Saturday evening, when every seat in tho Town Holl was occupied, and the enthusiasm was quite marked. The original performance of tho work at the Leeds Festival on October 20, 1886, put the imprimatur of fame on Sullivan, who had already earned wonderful popularity by his comic operas. But "The Golden Legend” at once elevated him Ao another class. This work is original, bold, inspired, grand in conception and in treatment; and that it is as fresh and thrilling to-day as when first produced thirty-five years ago proclaims it to be one of. the immortals. The legend is not altogether unrelated to that of "Faust." In both the raison d'etre is the triumph of Christian faith over the powers of evil. In "Faust” it is Mephistopheles; in the "Legend” Lucifer, who would tear down the Cross, and make a mockery of the finer virtues; and In both instances a, beautiful maiden is instrumental in igniting the cleansing fires for the soul in. error. Sullivan commences the prologue of his work dramatically, with Lucifer and his air-borne hosts attempting to tear the cross from the spire of Strasburg Cathedral. The roaring of the tempest, the clang of the cathedral bells, the defiant shouts of Lucifer, the shrieks of his minions, and the answering voices of the choir in Gregorian chant, make up a tonal picture that sears itself into tho memory by tho sheer force of its startling and penetrating imagery. The story proper is not a long one. Prince Henry is sick unto death, and nothing will save him save the free and voluntary sacrifice of a beautiful young maiden. It is Elsie, daughter of Ursula (one of the Prince’s tenants), who, seeing the Prince’s parlous state, is consumed with love and pity for him, and resolves on : the supreme sacrifice. Lucifer, disgtiT3e'«J first as pilgrim and then ; s a monk, attempts to dissaude the girl from this act of sublime renunciation, but Elsie is sincere, aiicl goes to Salerno to die, but at the last moment the Prince intervenes, the girl’s superb cour. age and fidelity having been sufficiently proved to cure the Prince, who makes her his bride. There are some telling passages throughout this work, radiant with the truest dramatic instinct, in solo, chorus, and orchestra—perhaps more especially tho orchestra, which literally. makes the story luminous. There is the' tempting of tho Prince by Lucifer, and that extremely beautiful pastoral, which begins with Ursula’s solo, giving the keynote to the scene—

"Slowly, slowly up the wall. ■ Steals the sunshine, steals the shade, Evening damps begin to fall. Evening shadows are displayed. Shafts of sunshine from the west Paint the dusky windows red. Darker shadows, deeper rcsL Underneath and lamp overhead." This leads naturally to the tranquil evening hymn, "O Gladsome Light.* sung unaccompanied, and so to Elsie’s scene of renunciation. In tho next .scene the Prince and‘a companion are discovered trudging along the road to Salerno. !*ti route they fall in wit h, a band cf pilgrims—the Wagnerian iuea ns used in "Tannhauser”—• and among them is Lucifer, who. as an aside, ridicules his fellows in “Here am 1, too, in the Pious Band.” On reaching Salerno they find Lucifer installed qs head of the medical school, still hoping to divert Elsie from her sacrificial mission, but all in vain, yust as the fatal moment arrives the Prince relents, satisfied that ho hns gone far enough, but Lucifer mocks and gibes at him as he puiis tho girl inside tho gates and slams them in the Prince's face. In a grand climax the Prince’s attendants storm tii? place', and, rescue Elsie. Thereafter' TTe Prince recovers his health, ami iiiere. is an interlude of ,-wect romance in the gardens of old on the afhUie. A choral enilogue of masterly musicianship concludes tiio work appropriately. It is a long time since the union has given so excellent "a performance nil pound. A special set of had to be secured to do such a worlt instice. and they did their wnrlt with commendable distinction. Ike Ebie of Madame Winnie Fraser was instinct with charm. This artist has a strong soprano voice, very pure in tone, and under perfect control. There are glimpses of warm sunshine in its music, and her splendid diction and sound interpretive qualities lent artistic’weight to her work. She sang the music of the renunciation scene with a deep sincerity and simplicity that made a distinct appeal. "My Redeemer and Lord" would have been enhanced by the more suave playing of the oboe—the only accompanying instrument. The effect was much better in "My Life is Little," when the whole of the wood wind instruments come into play. Another beautiful solo was “All Through Life," and the succeeding duet, "Sweet is the Air.” Madame Fraser quite lifted the audience out of itself in the tranquil solo, "The Night ij Caln).'” The role generally fitted her like a glove, end the acclaim given her was thoroughly deserved. Miss Mabel Esquilant had the less attractive, less appealing role of Ursula, to sing, and her rich mellow contralto was heard to advantage. She was quite effective in the renunciation scene with Elsie, and sang t]je solo "Virgin Who Lovcst the Poor and Lowly” with fine devotional depth. Mr. Ernest Drake was scarcely so well suited in the role of Prince Henry as we hare heard him. /He appeared to be suffering from a cold, as he never lost a certain husky clouding of the tone. He, however, sang with good taste, but was hardly strong enough to come through the orchestra in the full-powered ensembles. Mr. Barry Coney, of Auckland, was in his element as Lucifer. Ho simply revelled in the sinister ribaldry of the arch fiend, making him vocally "tho devil incarnate." Ho scored his greatest success in the "Piff and Faff” solo, which offers fine opportunities to any deop-toned, fullvoiced baritone with a touch of humour and an appreciation of character. Mr. Coney wm also dramatically effective at the end of the fourth scene, where his demoniacal shouty if "Too Late!” rang out through the clamour of chorus and orchestra. Mr. Henry Pargetter sang the role of t'he Forester. The union has never presented so fine a chorus as on Saturday evening, or. fj put it another way, never has it been heard to such effect. Saving a weakness or two in the chant leads, the steadiness and security of its work, the fine balance, and the splendid volume of tone, when , fully called for, was almost inspiring. At last t’he chorus has a good lot of tenors. For years this department has been a weakness, but 'Vr tho Inst two performances they have made their presence felt, and the balance oFpower is restored. Il was a rare pleasure to hear such superb chorales as "O, Gladsome Light," "O. Pure of

Heart,” and the epilogue sung with such expression., Tho orchestra, too, which had a most difficult score to read, covered itself with glory, and added to the entire success of the performance, which waa conducted in a masterly fashion by Mr. H. Temple White. Before tho cantata the Elgar’s setting of “God Save the King, with Madame Fraser as the soloist, and that lady and Mr. Drake sang with much charm tho "Miserere from 11 Trovatore,” in its true choral setting.