ST. MICHAEL'S CONCERT.

Globe, Volume IV, Issue 389, 10 September 1875, Page 3

ST. MICHAEL'S CONCERT.

On Thursday a concert was given at the Oddfellows' Hall, which drew a. good audience. The principal item on the programme was J. F. Bamett's cantata, "The Ancient Mariner." The work was originally produced at the Birmingham Triennial Festival in 18G7, where it gained considerable notoriety, and added not a little to the composer's fame. A few words descriptive of the composition may not be unacceptable. After a short instrumental introduction, the (male) chorus enters, announcing " It is an ancient mariner, and he stoppeth," &c, a wedding guest (tenor), who energetically replies, endeavoring to free himself, being detained against his will to hear the mariner's tale. This is commenced by the chorus in a sweet flowing strain, and was sung clearly and brightly, the points being well attacked. An original Bridal chorus, for female voices (sung with good precision), reminds the poor absent guest of the feast he desires to share.

After a short recitative, a somewhat agitated chorus continues the narrative, " The storm blast came," the character of which changes when an albatross appears bringing fine weather, the delight of which is pleasingly pourtrayed in a soprano solo of some beauty. The great height of the song, however, detracted greatly from its success. Indeed it is to be regretted that tjrie soprano and baes solos throughout the work have a tendency to range far above the true compass of ordinary voices. The soprano continuously lies between about E and B, and is even extended to C sharp ; while the bass ranges principally from Ato E. The whole narrative revolves on the popular sailor-superstition respecting the killing of the albatross ; and the mariner announces in sorrowful strain, "With my cross-bow, I shot the albatross," after which " Down dropped the breeze," described in a dolorous tenor solo; the doleful nature of which was not a little intensified by being sung painfully flat. The band assisted in this, for there was a most perceptible difference in the pitch between piano and orchestra, and a most excruciating effect was the result, at times more apparent than others. A rollicking chorus depicts the delirium of the seamen, and was briskly sung; but a quartet which follows was but very indifferently performed. The Mariner now relates his loneliness in a series of short musical phrases, interspersed with orchestral interludes, and then follows a bass solo of great beauty, which was well sung, the words being clearly enunciated. The effect of this, a 3 indeed of the entire work, was sadly marred by the stamping of theconductor; this was done, not only at every change of time, but frequently throughout entire movemeuts. A little more rehearsal would have entirely obviated this, and would have added considerably to the enjoyment of the performance.

" O, sleep it is a gentle thing" is a charming song, but on this occasion was so particularly " gentle" as to be almost insipid. A bright chorus relates the coming wind and rain, and a mysterious choral recitative (for male voices), with an agitated tremolo accompaniment, depicts most vividly the " ghastly crew" manipulating the death ship. A lively quartette ("Around, around, flew each sweet sound") tells of the troop of " spirits blest" hovering about, and this was sung in a most excellent manner, being the best rendered movement of all. The mariner faints, and in his " swound" he hears " two voices in the air," which sing a mo3t lovely duet, the accompanying of which deserves a word of praise. A bass solo brings back to the original scene, and a tenor air, followed by a soprano solo with chorus (which was sung somewhat unsteadily) leads to the finale, wherein the original theme recurs most effectively. Considerable praise must be bestowed on Miss Rosina Carandini, Messrs Knox and Appleby, who sang admirably throughout ; Miss Parkerson and Mrs C. M. Taylor also took part, and fairly acquitted themselves. A short miscellaneous programme, of which the principal items are as follows, brought the concert to a close :—A pianoforte quartette, by the Misses Marshman and the Misses Cane: and a piano solo by Miss Margaret Cane, whose delicate touch and careful phrasing deserve the highest praise ; a fine part song, " True love's voice," was beautifully sung, and Miss Carandini contributed a grand scena from " Ernani" (with orchestral accompaniment) in fine style. The concert concluded with Mozart's orchestral overture " Der Schauspieldirector."