ANDCH.IR
GAVE OF
C
THEIR BEST
l'!‘is
by
nudm:cel’
Bs
gh as m-
(“erofltmu,'
us,”
it i
agpes.
.
la
013
m@ é“l\! jch
the six soloists interweave closely
*w:th ‘the cimrus ‘and orchestra.
s in_the mystic pas-
’fig s
. b&i’zh’fexf“
ind full
H
m
'
Handley’s ef-
i
fort at a rav:yal— prece&ed fow;
il
wii i:ppgfg'ted
by
Guildford him flm Civic
s
pindl
ddai’S e
fowes, the Guildferd Hxflharm
ce
em
:
masswe
Orchestra and Cholr &&?e it the%:
censaderabic b;s¢
of ¢ eegb’ rc!flimis ‘musical
tion which presents a st
lenge to any choir,
em
chal-
Bl
The six soloists,
matched their voices
in
1 com-
bined and separate balance to the
meditative meaning
torio,
Jane
of the
va
Manning produc
sopram notes of high qafifify an
purity = and, though apparently
never atfull power hez dehvery
was always cleax and distinct —
redolent
with
1pats
é‘in&o:tt p&'ovalga%e of
ex%}
ressed nflt»rigden remorse with
opher
Keyte
garian intensity in hw extended
Seciptural
solo. whi %
the
nearest attempt at an
wlmie w&t}.vl?th hun in sjox;:e
m;fiina
oguies were John
Wakafiel tfih John) and Robert
Bickerstaff (St. Peter), the latter
producing some robust and ringing phrases as befitted the char-:
acter,
In the parrative part of }esus,
Bryan
Drake sang thtmxghou: in
a steady, smooth baritone which!
‘was correctly penetrating rather|
than powerful, Sarah
Walker|
stood in at short notice for Mar%:ret Cablgalm the cfltg a?tm of
ary Magdalene an
e
capably with the anxiety and tensity
of her main solo, though at times
later she
inevitably swamwd
by orchastr sound,
e phi!hammac o
"_John Ludiow,
w