“THE CREATION”

Sun (Auckland), Volume 1, Issue 55, 27 May 1927, Page 13

“THE CREATION”

AN ENJOYABLE PERFORMANCE "I spend njuch time over it because I intend it to last a long time.” So said Haydn, when engaged in the structure of his masterpiece—“ The Creation,” a work which took him over two years to complete. * Well interpreted and fittingly sung, the popularity of this work, particularly with the English-speaking people,

is not difficult to understand. Apart from its deep solemnity and the outstanding beauty of its composition, the descriptive nature of the oratorio, so simple in its sincerity, is readily grasped even by many not essentially musical. As a subject, its theme was indeed worthy of inspired labour. A fitting instance of its popularity was provided at the Town Hall last evening when the work, as given by the Auckland Choral Society to a very satisfactory “house,” was accorded the finest of all musical tributes—a deeply attentive hearing. LIGHT AND SHADE With such a work a flawless performance, either as regards interpretation or execution, is hardly to be expected, and the Choral Society’s effort last evening naturally proved no exception. In the bass and tenor sections, for instance, a numerical weakness could not help but make itself obvious. In “The Creation” effects much depend upon the exploitation of the full resources of the choir, as instanced in the sudden and glorious transition from the “darkness upon the face of the deep” to the creation of light—that splendid bar, “And there was light.” The strength of the choir is truly the strength of its weakest part. Last night good control disguised it to a certain extent. Again, in the accompaniment, particularly in the Adam and Eve duet, in which case a preponderance of strings was noted, an occasional invasion upon the domain of the soloist was evidenced. This, however, is a common fault, and one very largely excusable where circumstances do not permit opportunities for greater understanding between soloists and orchestra. In justice to the orchestra, however, it must be stated that their work, taken on the whole, was of a high order, the treatment extended to that delightful preliminary, the “Chaos” overture, in particular, proving most enjoyable. It is indeed singular music, and to faithfully depict the theme—the promise of a world yet to come, conveyed in the delicate melody of the woodwind arising from the utter chaos of darkness—painstaking care and attention is indeed necessary. The requirements of light and shade were carefully noted, and at the same time, full advantage was taken whenever possible to infuse as much brightness as possible into the concerted work. THE SOLOISTS In the initial appearance before an Auckland audience of Miss Naomi Whalley, of Palmerston North, considerable interest was evinced. Judging by the applause liberally bestowed it was evident that there was little disappointment. Although a voice which has not by any means reached full maturity, Miss Whalley’s soprano induces a pleasing feeling of satisfaction. Possessing a nicely-modulated voice, flexible and of a pure freshness, the soloist was content to rely upon quality, and it sufficed. On occasions a slight thinness oh top indicated the direction in which further study will be necessary. It is distinctly a voice of great possibilities. In the solo “With Verdure Clad” and that beautiful descriptive number “On Mighty Pens” Miss Whalley was delightful. Her work throughout should ensure her a warm reception on future occasions.

Although hardly robust enough to be completely satisfying in some of the more exacting recitatives, Mr. Birrell O’Malley, who was entrusted with the tenor role, was responsible for quite an artistic performance. In the delijcate melody of "With Softer Beams.” he was undoubtedly at home, although his best effort was “In Native Worth,” a number in which he well rose to the occasion.

In Mr. A. Colledge’s interpretations there was rather too much sameness. Lack of colour prevented him from fully exploiting the big bass number, “Rolling in Foaming Billows,” the contrast between the opening expression and “softly purling river” and “limpid brook,” being insufficiently marked. As is the case throughout “The Creation,” the words should be sufficiently suggestive. In the air. descriptive of the creation of beasts, he was much more effective, and provided a really good interpretation. "With the general control exhibited little fault could be found. Attacks and releases showed commendable precision. while evidence of careful preparation and good direction were often in evidence. Generally speaking, it can be regarded as a distinctly successful production, and one which reflects great credit upon all concerned, but particularly upon the conductor, Mr. Colin M uston. L.R.A.M., whose bright, and often, rather original intei'pretations, resulted in a very enjoyable and decidedly interesting evening.