A MUSICAL FEAST

Sun (Auckland), Volume III, Issue 823, 18 November 1929, Page 14

A MUSICAL FEAST

HEUGHAN—ACTOR AND SINGER CHARMING PERSONALITY j A performer in a dual capacity, ■ ' I combining the arts of the uass soloist i and the actor, to the very best advan- ! i tage, and throughout his performance ; displaying the highest standard of ac- i complishment—such is 'William Ileug- ? hail, “Scotland’s actor-singer,” who I 5 was heard at the Town Hall on Satur- q day evening. To say that Mr. Ifeughan charmed , a his listeners would be “damning him ! r with faint praise.” Rarely has such a t colourful figure with such personality 1 and artistic power appeared before an f c Auckland audience to delight them , f with the very best that could result : 1 from vocal and histrionic excellence. t The folk-song was Mr. Heughan’s \ c forte, and his method of telling the j*■ story of, or explaining the reason for, 1 each of these before rendering it, j v enabled him to cueate the appropriate » atmosphere so much the better. Add to : 1 this spoken prelude the power of a j* c rich, lull, vibrant bass-baritone voice \ 1 and the art of an actor who infuses ! c into each number the actual spirit that 1 gave rise to it, and the atmosphere is 1 1 complete—l-leughan has transported ; you to the scene where Bruce addressed his men before Bannockburn, j to tlie lone cottage 011 desolate moor ! where an aged couple’s quarrel is de- i * pic ted in “The Barrin’ o’ the Boor.” : r or to the tiny Scottish fishing village 1 - where lived “The Auld Fisher.” FEAST OF MUSIC s And so the audience partook of a 1 feast .of. music that stimulated the ! c musical palate to crave for more of f the rich fare. Ballads, folk-songs and c i Scottish songs filled the major por- j £ * tion of the programme, and in them f j Mr. Heughan traversed almost the on1 tiro gamut of human emotions, i Two operatic airs were • sung with . 1 fine feeling and a sensitive conception i 1 of the composers* intentions—Mozart’s ]“O Isis guide them” and the Incanta- J I tion and Church Scene from Gounod’s \ j “Faust.” ; Too much cannot be said for Miss 1 ; Gladys Saver, the accompaniste. It 1 would bo impossible to imagine anvj one who could fill the position with J more sympathetic support and artistic j interpretation. Miss Sayer and Mr. 1 Heughan, acting together, are two of i The most charming entertainers. In j their art they are as one. Miss Sayer becomes part of the instrument on ] ■ which she makes such melody. and 1 added to her soulful genius, and to fur- | ther charm her listeners, is the grace 1 fulness of her actions and the artistic 1 poise she so unaffectedly manifests, j Miss Sayer’s fingers are yuppie < J beyond description—they fairly caress i : j the keys. Her playing and her pres- 1 j ence are a sheer delight. j 1 IN THREE SOLOS 1 She was also heard in three solos • j which completely fulfilled all that one • j imagined so gifted an accompaniste : ; could do. They were. “Anitra’s Bailee” 1 ! (Grieg), “Clair de Lune” (Debussy), j j and Brahm’s “YY altz in A flat major.” , j Miss Maud Bell, a ’cellist, whose ex- ! quisite art was to some extent lost in ; 1 fbe cavernous impossibilities of the ! Town Hall, so notorious for its repel- ; \ lant acoustic properties, played a number of beautiful solos. Despite the adverse musical conditions. Miss Bell won warm applause for the sympathetic interpretation and brilliant style in which she played. Chief among her offerings were “The Swan’* (Palm- 1 gren). “Sonata in G Minor” (Handel), and Cyril Scott’s “Lullaby.” < These musical celebrities will be heard again tonight.