“THE MESSIAH.”

Globe, Volume XXIV, Issue 2716, 22 December 1882, Page 3

“THE MESSIAH.”

Taken as a whole the Musical Society are entitled to be congratulated upon their rendition of Handel’s oratorio of “The Messiah.’’ It cannot be denied that the bad acoustic properties of the Drillshod militated considerably against the full effect of what was evidently a carefully rehearsed, and, generally, musically speaking, satisfactory performance. On all occasions when the oratorio has been produced at this period of the year it has drawn a large attendance, and last night was no exception to the rule, the Drillshed being filled to overflowing. The vocalists and orchestra were disposed at the northern end of the building, an arrangement which we think might with advantage be altered, so as to have them in the centre of the building. Last night many of the passages, particularly in the solos, were almost inaudible in parts of the building. The ladies’ voices were heard far better than the male ones, but still it was most unsatisfactory, alike to performers and audience. The three parts were so arranged as to bring in each the various soloists and divide the work. Thus in the first part the solos were taken by Mrs Palairet, Miss Taylor, Mrs Townend, Miss Spensley, and Messrs Izard and Merton. The second part solos were taken by Miss E. B. Rowley, Miss Spensley, and Messrs Huxtable and Appleby. Miss A. S. Taylor sang “ There were shepherds ’’ and the following recitatives leading up to the air, “ Rejoice greatly,’’ and the air itself, with much artistic finish, but her voice was scarcely of sufficient volume for the room. Mrs Palairet was heard to great advantage in “ Behold a Virgin” and the lovely aria, “ O thou that tellest,” which were excellently given. Mrs Townend sang “ Then shall the eyes” and “He shall feed His flock” with much effect, and Miss Spensley was good in “ Come unto Me.” There was a tendency on the part of the latter lady to force the notes in the upper register, which had the effect of rendering them somewhat harsh. With this exception, the number was rendered in a manner deserving every credit. Mr Izard sang “ Comfort ye,” but his voice, though well suited to a hall of smaller dimensions than the drill shed, sounded very thin. The same remark may be applied to Mr A. Merton’s rendering of “ But who may abide ” and “ The people that walked.” Both numbers were given in a manner evincing that the singer was a thorough musician, but the power of voice necessary to do justice to the Handelian style of basso music was wanting. To make it worse, the orchestra played far too forte throughout both the pieces. The choruses in the first part, and, indeed, throughout the oratorio, went splendidly, showing that care had been taken in rehearsal. The voices were well balanced and the parts taken up with spirit and effect. There was only one little defect noticeable in the chorus “ For unto us,” in that the staccato passages were not given with sufficient decision. All else is deserving of praise. “ The Pastoral Symphony” was played with much delicacy and effect, the instruments going well together throughout. Miss Rowley sung “He was despised ” carefully and well, and Miss Spensley’s rendering of “ But thou didst not leave ” was exceedingly artistic. Mr Appleby sang the music allotted to him with care, though he seemed somewhat out of voice. Miss Taylor’s rendition of “ I know that my Redeemer,” was artistic to a degree, and Mr Huxtable, though somewhat rough in parts, sang-“ Why do the Nations” and “The Trumpet shall Sound” well. The choruses in the latter part, especially the “ Amen ” and “ Hallelujah,” were capitally sung. Mr Neville Barnett conducted, and did so very successfully. Mr Coombs led the orchestra, which, with the exception referred to was most efficient, and Mr R. T. Searell rendered good service at the organ. A suggestion has been made to the society to repeat the oratorio at cheap prices, and we hope they will see their way clear to do so, as it is really well worth hearing.