CHORAL SOCIETY

Sun (Auckland), Volume I, Issue 181, 21 October 1927, Page 15

CHORAL SOCIETY

A SUCCESSFUL CONCERT The Town Hall was almost completely filled last night, when the Choral Society gave its third concert of this season. Weber’s Mass in G and Mascagni’s “Cavalleria Rusticana” had been chosen for performance, under Mr. Colin Muston’s direction. Remembering the society’s difficulties, one will not object too strongly to the choice of “Cavalleria,” though it has been placed by Mr. Ernest Newman amo among “the three worst of the lower operas.” Weber’s Mass is another matter. If we cannot hear Palestrina or Byrd or Bach, the comparatively superficial masses of Haydn and Mozart, Schubert and Weber, are by no means to be despised. The Mass in G has pages which make us doubt if Weber understood the meaning of the words. But there are others which could only have been written by a man with some strong leaning toward mysticism—as, for instance, the soprano solo in the Credo and the quartette which closes the Benedictus. For such especially, and for much other skilful and wellsounding music, it deserves an occasional performance. The Mass was done satisfactorily: on the whole its choral parts are very “vocal” and must be comfortable to sing. Good balance was impossible, of course, when sopranos and contraltos were in such a vast majority, but the intonation and attack were correct, the tone fresh and pleasant as a rule. Having gone so far, the choir can now afford to study more carefully its diction and tone-gradation. Miss Alma McGruer was the most successful of the soloists. After a somewhat doubtful beginning she improved rapidly and gave a finely reverent and expressive reading of her important solo in the Credo. Miss Phyllis Hazell, too, sang very well in the Agnus Dei. As for “Cavalleria” ... In concert form it is a less barbaric entertainment than in the opera house, but it is also less entertaining. The peasants in their chromo-lithographic costumes, the muleteer’s whip and the property man’s red wine, the biting of ears and brandishing of knives, are fully as artistic) as the attendant noises. However, this performance was quite good and everyone seemed to enjoy it. Even the intermezzo was heard with entusiasmo . . . Of the soloists, honours were distinctly on the feminine side. Miss Etta Field made an excellent Santuzza, in most respects. Her voice was used more carefully, apart from some indiscretions above the stave, and there was no lack—there could scarcely be excess—of emotional colour. Her share of the duet with Alfio demands special note. Miss Phyllis Hazell brought unusually beautiful tone to the two smaller parts of Lola and Lucia. Lola’s song required a quicker tempo and more rhythmical impulse, and the whole part would have been improved by a lighter touch. But Miss Hazell indubitably has a voice. Mr. Hubert Carter again disappointed his expectant friends. He appeared to be suffering severely from throat trouble, and sang without conviction or effect. His interpretation had evidently been carefully studied. Mr. Frank Sutherland has a wide range, but his upper notes lack resonance—or lacked it last night—and an Alfico without a telling, closed tone is greatly handicapped. Mr. Sutherland’s voice is not. in fact, of operatic type, though it should be useful in other work. The chorus again sang vigorously, if without much variety, and the orchestral playing was vastb’- better, as one might expect, than in the difficult “Aida” score. R.J.B.