ROYAL CHOIR CONCERT

Sun (Auckland), Volume I, Issue 205, 18 November 1927, Page 15

ROYAL CHOIR CONCERT

POPULAR ENTERTAINMENT Judging by the very satisfactory attendance at the Town Hall last evening, which was far in excess of that attracted by several prominent overseas artists of late, male choir singing has evidently a considerable following in Auckland. In view of the fact that for fairly obvious reasons a great deal of variety cannot be introduced into such programmes, the support accorded last evening can be regarded by the Auckland Royal Choir as a distinct compliment. Even careful programme selection cannot overcome constitutional disadvantages, but it certainly helps, as was the case last evening. In the choice made it was also pleasing to note that for the lighter leavening brightness was used in preference to the allegedly humorous, but in reality, rather ponderous form of choir humour. With the exception of one, or perhaps two, rather dominant voices in the tenor section, the tonal balance was good. However, very few choirs escape this fault; the principal offenders generally being good readers and, therefore, “useful members.” Attacks and releases were commendably clean, and with one minor exception, the requirements of light and shade were faithfully observed. The exception referred to was Schubert’s “Serenade.” In this, an otherwise pleasant performance was marred to a certain extent by the fact that the art was at times a little too obvious, particularly in a rather extravagant use of crescendo and diminuendo effects in the second verse. Nevertheless, it found much favour with the audience. Foote’s arrangement of the “Bedouin Love Song,” quite a pleasant change from the hackneyed solo version, provard sufficient declamatory. In “Still in My Dreams,” the choir provided a nicely-shaded accompaniment to the tenor solo of Mr. J. McDougall, who was responsible for an artistic effort. Other choir numbers were “King of Worlds” (Jardin), in which a good performance was marred slightly by the rather indecisive treatment accorded the middle verses, “He that Hath a Pleasant Face,” “To the Stars” (Kucken), and “Estudiantina’ 1 (Lacome). The performances were warmly received and several recalls had to be given. Mrs. Cyril Towsey was in good voice, and her numbers, “Slow Horses Slow” (Mallinson), “A Birthday” (Cowan) and “O Mio Fernando,” from Donizetti’s “La Favourita,” proved very acceptable. In the latter number a useful range was particularly well exploited. Additional variety was provided by an instrumental trio composed of Miss Ruby Brame (flute), Miss Marion McMurtie (violin) and Mr. Peter Black (piano). Their numbers were Titi’s “Serenade,” “Spring’s Awakening” (Bach) and “Sing Sweet Bird” (Ganz). With the exception of the former, which is not a particularly good piece, their contributions were quite enjoyabe. Mr. William Gemmell provided a good interpretation of “The Erl King” (Schubert), and the “Toreador Song,” from “Carmen.” His items were also recalled and were of a consistently good standard. Miss Lilian Braithwaite and Mr. Cyril Towsey were the accompanists.