MUSICAL TREAT

Evening Post, Issue 51, 2 March 1931, Page 5

MUSICAL TREAT

WELLINGTON SYMPHONY

ORCHESTRA

''A magnificent peiforniaiice" was Lady Baden-Powell's comment on the playing ol' the Wellington Symphony Oichestia on Saturday night when, before a large audience, the orchestia ga\e a conceit on behalf of the Eaithquake Relief Fund. This comment vas passed on to the audience by the Govetnor-Genoial (Loid Bledisloe), ■who spoke of the woithy object of the peiformance «md the beauty of the playing. He said thak Wellington could well be proud of tho 7eal and musicianship of tho oichcstra, and the laptuious and prolonged applause which giceted cacli item showed that all pieacnt enthusiastically • endorsed His Excellency's statements. There is no doubt that the concert was not only a financial success, but a tnuniph for the musicians and their conductor, Mr. Leon de Mauny. Besides the orchestral items there were vocal numbers by prominent local singers and these albo were very popular. The item which caiiied the audience aivay was Tschaikowsky's "1812 Overture", for which the orchestia was augmented by members of the Port Nicholson Band and the organ, played by Mr. Bernard F. Page. This work must rank iisone of the most spectacular ever written, and Mr. de Mauny's reading was always eloquent. The climax was stupendous, but the conductor never abused proportion or allowed the tone to degenerate into noise. He drew from his players a glorious • blaze o£ triumphant music, which aroused the audience to a high pitch of excitement. So great was their enthusiasm that the whole work had to be repeated and again theie was a frenzy of applause. In the overture1 to Thomas's opera, "Raymond," the orchestra gave indications of its progress. There was admirable control of tone in the dainty figurations, which were cleverly defined, and the sudden transitions showed that practice has brought elasticity. The waltz from Tsehaikow sky's "Sleeping Beauty" ballet was played ' with grace; pointed accent; and' rhythm' and vivacity marked the three "Nell Gywnu" dances by Sir Edward German. These lighthearted excursions caught the fancy of the audience. An orchestral arrangement of Rachmaninoff's little pianistic, melodrama, "Prelude in C Sharp Minor" was no doubt a concession to what is called "popular taste," but equally popular was Sir Edward Elgar's "Pomp and Circumstance, No. lin D," in which there.is no stoop to conquer. The broad sweeping line of 'Tjand of Hope and Glory" was majestically interpreted by orchestra and organ. It is said that Elgar in his music is content to do two things—praise God and praise England—and "Pomp and Circumstance" h a noble piece of patriotic \ expression. Another item which the audience insisted upon being repeated was the "Miserere" duet from Verdi's "II Trovatore," sung by Mrs. Amy G. Woodward and Mr. H. F. Wood, accompanied by Mrs. de Mauny on the piano and the organ. Both singers displayed a visualisation •of the dramatic aspect of the scene. Mrs. Woodward also sang Arditi's lilting "Rosebuds" and was enthusiastically encored, giving "My Hero" from "The Chocolate Sol-1 dier." Mr. Wood's solo was Toselli's "Serenata" and he also was recalled, singing "The Drinking Song" from "The Rose of Persia." The most expressive singing came from Miss Hilda Chudley, who showed excellent control of her mezzo-contralto voice in "Whene'er a Snowflake Leaves the Sky" (Liza Lehmann) and "Love Serenade" (Landoh Ronald); as an.encore she sang a rather inappiopriate number for a woman, "Drink to Me. Only With Thine Eyes." Still, Clara Butt sings "Kathleen Mavpurneen."