EXPRESSIVE SINGING

Sun (Auckland), Volume II, Issue 525, 30 November 1928, Page 14

EXPRESSIVE SINGING

ROYAL AUCKLAND CHOIR FINAL CONCERT OF SEASON A very large audience almost filled the Town Hall last night. when the Royal Auckland Choir grave its third and final concert of the present season. The programme was framed on the usual lines, and some expressive singing was heard, though there was rather a lack of animation and neatness in some of the numbers. Some seventy choristers took part and the vocal tone was pleasing, but in general more definition was required in the inner voices. The two most interesting choral numbers were Brewer’s “Break, Break. | a work of some strength and character, and Bard-Janin’s dramatic “Brothers in Song,” which has some originality in design and conception. The former of these was expressively sung, though the initial attack was rather tentativ e and the pitch at times indifferently sustained. The “Brothers in Song” was commendable for varied vocal colouring, and the effective solo work by Mr. T. B. Rowe, whose clear enunciation was highly praiseworthy. “Hail to Our Native Land,” the march from Verdi’s “Aida,” was full and steady, but scarcely spirited enough, and needed stronger accenting. The veiled tone in a vocg.l arrangement of Schumann’s entrancing “Traumerei” was delightfully realised, while the lilting rhythm of the “Swabian Dance,” —a gay and tuneful trifle —was admirably kept up. The amusing part song, “The Wedding of Shon Mac Lean” went with a good swing, and in this the distinct articulation was a creditable feature. Smooth tone and clean vocalisation marked the singing of Kreutzer’s meliodious little song “The Chapel,” and the quartette in the work was nicely sung by Messrs. Wrigley, McDougall, Parker and Mitchell, who also sang the quartette “Flow’ret and Bird” with distinct success. The four voices blended well, though at times the outside parts were a little too prominent. Their recall number, “Vesper Song,” was not quite so neatly sung. Miss Mina Caldow’s cultured voice was heard to advantage in several songs of which the chief was Gounod’s “Oma lyre immortelle.” The mood of the recitative was well suggested,, and the air was sung with fine broad tone and in true legato style. The dramatic coda, however, seemed rather unconvincing. Miss Caldow was also heard successfully in several smaller songs, including Hill’s patchy song, “Waiata Maori.” Miss Molly Wright contributed several ’cello solos which added greatly to the enjoyment of the concert. The fine Hebrew air, “Kol Nidrei” was distinguished for good breadth of tone and had the right atmosphere, though occasionally the playing was scarcely as clean as is usual with this talented player. An “Arioso” of Bach, and “Guitarre” of Moskowski, were well done, the former being notable for a clear singing tone and the latter for its rhythmic gaiety. Her recall numbers were also tastefully played. Mr. Towsey played the piano accompaniments and Dr. Thomas as usual, conducted the Choir. —S.K.P. Billie Dove wears some magnificent clothes in the Parisian setting of “Adoration,” a brilliant and dramatic love story of unusual dramatic values, with the lovely star ideally suited to the leading feminine role. Antonio I Moreno plays opposite her.