THE CHORAL SOCIETY.

New Zealand Mail, Issue 46, 9 December 1871, Page 8

THE CHORAL SOCIETY.

Though many years have elapsed since Mar it ana \va3 placed befoi-e the London public —as early as 1845 —ib cannot be doubted that among the chef cVouvres of the long list of operatic composers there is none more captivating or melodious than that work of the talented and departed Vincent Wallace from which the selections of Thursday evening were made. Not that the work is to be judged by the performance of the evening, for there was necessarily that want of continuity in the subject which cannot be compensated for in any way where selections only are given. Most of the ever-charming melodies with which the opera abounds were taken for presentation, and as a whole were given with creditable execution, though we do not intend, as is too much the fashion, to give to everything the couleur cle rose , placing merit altogether at a discount. Let us say, firstly, that we commend the wisdom of the society in avoiding the flagrant and unpardonable error committed at the last concert in the attempt to dispense with a conductor, without which we could only look upon the chorus U 3 being in the position of the shell of a departed shellfish, or a school without a master. Further, let us add, that the baton was wielded iu a way that justifies U 3, without any further assurance, in expecting the performances of the society in the future to be of a character more lofty in the manner of their rendering. We must qualify this remark by saying that it is not made in disparagement of the recent concert. We know from experience that of all people in the world there are none who chafe so much as musical people do under any observation which they themselves consider does not correctly describe their efforts, forgetting that in their performances they are not in a position to judge of effect. Speaking from this position, we must say that the success in effect was more marked in the choruses than in any other part of the evening’s concert. There were one or two instances of indecision and wavering in taking up the parts, but they were rare, the choruses as a whole being given ivith a promptness and elcm which were refreshing. T he rests, where they occurred, were taken with crispness and neatness. Of the solo singing we cannot speak so highly. Wanting the support of the conductor’s wand nervousness was, in many case 3, permitted to play the usurper, practice and cultivation being banished. The female voices were the most successful m the solos, two laclies, of whom we shall speak presently, supplying the best things of the evening. The pianoforte accompaniments were given in many instances with i a great deal of taste and finish, and only in one piece was there evidence of confusion between the instrument and the voice. Under the most favorable circumstances we would prefer to hear the piano helped out by two or three stringed instruments, but more than ever was this necessary on Thursday evening to kill, if possible, the twang emitted by several of the keys, which spoke lamentably of want of regulation when held clown. The first part of the programme was not by any means so successful as the second. . This is very easily accounted for, the singers having established an affinity with the audience. Of the two choruses of the first paid, “ Angelus” was perhaps the best,, the parts being balanced so judiciously, and yielding so willingly to the beck of the wand, as to produce a beautiful blending; the only lault to be found being a slight weakness in the altos. “All the World Over” was sung easy and evenly, but the faulty enunciation stayed the bestowal of any considerable amount of praise. “ Alas those Chimes” was a victim to nervousness and want of range, the tremor in the voice destroying all effort at legato singing. Evidence was given, however, that the voice possessed good contralto power, though the want of confidence prevented its showdng to advantage. The trio “Turn on Old Time” was one of the worst things of the evening, the parts standing out very

ruggedly. We plead guilty to having listened to “ Let Me Like a Soldier Fall ” •with a foregone conclusion, which was not upset in any point. The declamatory power necessary to give expression to the desire for heroic exaltation we knew to be wanting ; therefore the rendering was hardly expressive of the courage sans peur spirit. An effort to sustain the character of the song was made in the early part, but was allowed to die away. We came to the consideration of the “ Flower that Bloometh” in something of the same manner, and here, where the putting into life of another order of expression was requisite the result was very enjoyable ; a nice dolce feeling ran through the whole piece, though the general ] effect was dimmed by the omission of some of { the upper notes from want of range. The | Warblings at Eve” was too weak to give realisation to the fanciful painting of Brinley Richards, but the same lady, in “ Scenes that are Brightest,” gave evidence that the solo had been placed in the hands of a true artist, the soft | grazia passages gliding through the beautifully conceived intervals embraced in the tied notes being performed with a cultivated finish nothing short ot delightful. One of the finest i voices was found “In Happy Moments. Xhe I song was well sung, notwithstanding a slight ! breakdown, which was forgotten in the general I excellence of the rendering. “ Ine Mariner I in his Barque” was the best thing wo have { heard from the gentleman who undertook the I piece foralong timepast. Although some of the I accidentals were taken rather clumsily, the song I was one of the best of the evening, and we : have to congratulate the singer on having j roused the audience by the infusion, of. a ! spiritedness which simultaneously did justice to the song. Another lady of whom we have to speak was she who led the soprana part in the trio and chorus, “ What Mystery.” t his was another treat. The part was taken with a firmness and sweetness which displayed great cultivation and an absence of all. nervous feeling, and this confidence and ability were so inspiring as to carry the niece through, for the bass part immediately followed in capital voice and style. The terzetto having been completed by the corning in of the tenor, the ' chorus perts came in, with the intervening rests, as neatly as if they had been chopped off, so accurate was the beat. The bass voices forged in a beautiful chromatic passage, and the general chorus immediately following gave a grand termination to the best piece of concerted singing of the evening. “This Heart by Woe O’ertaken” was very nicely sung. There were some shaky portions, which, however, w r ere compensated for by a good finish. Birch’s “ Banks and Brae’s,” part song, was well given, despite an unaccountable hitch when half through, As we have said, the choruses could not have been given better, but there is room for much improvement in the solo singing, which might be accompanied by more frequent appearances before public audiences. We must congratulate the society on the concert of last evening, and in their determination not to permit encores demanded in many cases by indiscreet friends of the performers, who persist in expressing their approval by hammering the gallery floor. We might remark also upon a slight breach of etiquette committed by those of the performers themselves who deem it necessary to express their approval of a piece by clapping. That is a privilege exclusively within tho prerogative of those of the audience who desire to express 1 their feelings in such a manner. The attendance in the hall was numerous and appreciatory. We hope soon to hear that the society will be be enabled to come before the public with an equally agreeable programme.