Handel's oratorio, 'The Messiah," was magnificently rendered on Tuesday afternoon at Holy Trinity Cathedral by a chorus of more than 100 voices, accompanied' by a score! of musicians from the Municipal Orchestra and the cathedral organ. Mr. R. G. Young, the conductor, deserves great credit for the mas-! terly manner in which he not only trained the members of the chorus, but, in addition, for his sympathetic understanding and interpretation of some of the greatest music extent. The concert was partly charitable; in character, since a collection was taken up on behalf of Mme. Dietrich's orphanage for Russian children, and thanks should be tendered to the members of the chorus, as well as the conductor, for devoting! so much valuable time to such a worthy object. The Very Rev. J, F, Symons, Dean of the Cathedral, offered prayers and pronounced the Benediction, at the inception of the service.
The famous Hallelujah Chorus, which concludes Part IL of the Oratorio, was. a masterpiece of blending and intimate cohesion of the voices. The tempo was maintained throughout, rising tio the natural climax of tremendous power and beauty of expression. The same criticism might also be made regarding the Sevenfold Amen which concludes the Oratorio. Here the male voices carry the theme, but never once did they overtop the carefully modulated voices of the sopranos and contraltos. Special mention should be made of the arias sung by Professor G. which were always rich and full of expression, likewise the amas and recitatives of Mr. G. F. Dumbarton, the tenor, which were full of power. He really sang magnificently. Miss EH. N. Waine, contralto, unfortunately sang only one aria, her voice is beautiful and her interpretation most sympathetic. Mrs. H. von Heidenstam, soprano, who sang the opening aria of Paxt III, "I know that my Redeemer Liveth," as well as several others, showed an intimate knowledge of the requirements and sang with feeling and power. Her upper register was delightful. the works of Handel have frequently been criticized on the score that they are; too complex for understanding or appreciation by the masses. Cer tainly, such a criticism does not apply to "The Messiah," which, however often heard, never fails to overwhelm one with its pathos, its majesty and splendour.
Text read from the printed page and cleaned; old type leaves the occasional error.