“THE MESSIAH”

Sun (Auckland), Volume III, Issue 845, 13 December 1929, Page 16

“THE MESSIAH”

AUCKLAND CHORAL SOCIETY’S SUCCESS FINE SOLO AND CHORUS WORK A fine performance of Handel’s immortal work, “The Messiah,” at the Town. Hall last evening, brought the Auckland Choral Society’s present season to a successful conclusion.

The society had the valuable assistance of many singers from the Royal Auckland and other choirs, with the result that there was a much better balance of tone in the male voice section. The quality of tone was usually very pleasing, the intonation dependable, and the enunciation strikingly clear, though the pronunciation of the words “Government” and “Hallelujah” as “Goverment” and “Hallelooljah” was a noticeable fault with many of the choristers'. Most of the well-known choruses were performed, and the singing of many of them was of a high standard. “And the Glory” went with a good swing, and had the right joyful tone about it, while “For unto Us” was marked by exceptional enunciation and good rhythm, and the florid passages were very creditably sung, particularly by the male voices. “Glory to God” occasionally seemed to lack precision, though the close was broad and effective, and if in “His Yoke is Easy,” the singing was not always quite clean, the style was good. “Behold the Lamb of God” was a trifle laboured in style, but expressive and well-balanced, while “Surely He Hath Borne” was sung with uncommon reverence and dignity. “All We Like Sheep” went smoothly, and the Adagio at the end was impressive, though a little ragged. The fugal chorus, “He Trusted in God.” was well done, and the climax of “Lift Up Your Heads” was splendidly realised by both singers and instrumentalists. “Worthy is the Lamb” opened with a great burst of tone, and the fugato was vigorous, while the closing phrases were thrilling and compelling. The “Hallelujah” Chorus disclosed some expressive singing in the middle section, and fittingly concluded the concert. The soloists proved reliable and were responsible for some good work. Miss Lilian Woods was entrusted with the exacting soprano solos and recitatives, and sang with expression and unaffected grace. Her recitatives were given with restraint and dignity, and her solos with purity of tone and commendable technique, winning warm approval from the large audience. The contralto soloist, Miss Doris Moore, possesses a voice of nice quality and even scale, and sang acceptably, though rather colourlessly and lifelessly. Her intonation is good and her diction very clear, and her singing of “He Shall Feed His Flock” was smooth and expressive. Mr. Arthur Ripley sang the solo tenor music with merit. “Comfort Ye” was nicely sung, and also parts of “Every Valley,” but in both some faulty diction was evident. The recitatives, “Thy Rebuke,” and “He Was Cut Off” were clearly given, but in the air, “Behold and See,” the intonation was not always just perfect, and in “But Thou Didst Not Leave,” the singer seemed to be unduly hurried by the accompaniment. In the air, “Thou Shalt Break Them,” Mr. Ripley sang with great success, and received well-merited applause. The bass solos were capably sung by Mr. Arthur College. “In Thus Saith the Lord” and the succeeding air, “But Who May Abide,” there were some dull moments, but Mr. College is to be congratulated on his effective singing of “Why Do the Nations,” part of which was repeated in response to insistent demands. Mr. College proved always reliable in the remaining music allotted to him. The orchestra gave satisfactory performances of the overture and the “Pastoral Symphony,” and though occasionally a little uneven in introducing the choruses and solos, gave very valuable support in the accompaniments. Mr. Muston directed the concert with his usual vigour and perception. Miss Whitelaw ably led the band, and Dr. Thomas presided with judgment at the organ. S.K.P.