"MESSIAH"

Evening Post, Volume CX, Issue 137, 8 December 1930, Page 4

"MESSIAH"

AN INSPIRING PERFORMANCE

'•There is something expressly English in Handel's characteristics," wrote Sir George Grove. The practical sense of his music, and its close alliance with the Bible, j joined to its lofty imaginativeness, suit the Engli.^. public. Abroad he is little known, and that mostly as a curiosity. But to the great English public he is even still their meat and drink. There can be no i doubt that the euorm'ous spread of music \ since his day has been largely due to the 1 popularity of the 'Messiah.' " It is difficult to believe even the opinion of so great an authority as Sir George Grove that Handel's instrumental music is a curiosity abroad, but there is no doubt that his oratorios have had an appeal almost peculiar to the British people. The Handel festivals at Crystal Palace are greatest musical occasions in England, and here in New Zealand no work is more beloved or more frequently performed. Before a performance by the Royal AVellington Choral Union there is always an air of expectation of a big occasion before the annual presentation of the work. Saturday night's performance was no exception, and the Town Hall was full when the conductor, Mr. John Bishop, stepped into his rostrum. Mr. Bishop had marshalled under his baton the combined forces of the Choral Union, the Levin Choral Society, and the AArellington Commercial Travellers' Male Choir, but his orchestra did not seem to be quite as large as usual, and the instrumental texture was not always adequate. In the latter portion especially, the performance rose to majestic heights, and wonderful effects were achieved in the resounding harmonies of the choruses. Mr. Bishop, as in other years, brought a sense of eagerness to bear on his interpretation oi the "Messiah," and as the performance, proceeded this was caught up by the singers. The ilorid choral singing, which in_ early pieces was of average merit, became in the latter parts fluent, broad, and bright in tone aud fiery in expression. In fact, the Choral Union has perhaps never previously approached the splendour of its singing in the last hour of this concert, and that the collaboration of choir and conductor was felt to be a happy one was proved by the I singers' prolonged applause at the end for their leader. In the big fugal choruses it was noticeable that Mr. Bishop did not work up from a comparatively quiet opening, but began with a blaze of tone and intensified the climaxes by an added brilliancy. In the chorus, "For Unto Us," there was a telling broadening of style for the words, "AA'onderful, Counsellor, the Mighty God," and these were declaimed without any disturbance of the rhythm, but the most sensitive piece of conducting was shown in "Worthy is the Lamb," while the finale of. the "Hallelujah" was stupendous. The choir was stronger than usual in male singers, but a few more men would have given a- better balance. Alas the balance of our mixed choirs seems unfortunately to be unrectifiable. Of the four soloists, Miss Peggy Dunbar, a young Australian contralto, was the one who sang with the best vocal freedom, and her solos were characterised by exaltation of expression which reaveled the born artist for oratorio work. She was successful in both the florid arias and the more reflective numbers. One could not help being struck with the even tonal quality of her voice in "O thou that tellest good tidings to Zion," and her lower notes were very effective in "He AVas Despised." The tenor, Mr. Harold Prescott, showed a careful refinement of style and an instinct for dramatic touches, especially in the recitative "He that dwelleth" and air "Thou Shalt Break Them." Some of his half-voice effects in the recitative "Comfort Ye" were very I artistic, and his interpretation of "Every Valley" was most convincing. Mrs. Catherine Goodson, who sang the soprano solo music of the work, was not always sure of herself in the long phrases in the upper ! register, and seemed to make excessive use. of the mczza. voce. This was apparent in "Rejoice Greatly," although her phrasing was skilful. She was expressive in "I Know That My Redeemer Liveth," which was attacked with more confidence. In this air her phrasing was skilful and her, middle and lower registers sweet "in tone. The baritone, Mr. Wilfred Kershaw, of Dunedin, has a resonant voice, but in the long phrases was inclined to waver, and some of his notes.were jerky. Still a public which has heard Fraser Gauge in the role is hard to please. Mr. Kershaw realised the bravery of "Why Do the ■ Nations," and the bass section of the chorus gave him effective assistance. The orchestra seemed to be lacking in body when the organ was not present, and at times did not share the enthusiasm of the vocalists. However, the s strings maintained a good melodic line throughout, and were very expressive in the first movement of the "Overture" and the "Pastoral Symphony."