The interest which the promised performance the Bath Philharmonic Society of Sir Arthur Sullivan's fine work "The Golden Legend" culminated on Tuesday night, when the Theatre was thronged by audience more brilliant, perhaps, than any seen within its walls since Jenny Lind appeared there when in the zenith her fame. In one respect the ensemble was more perfect. The large (and as far as the ladies were concerned) the elegantly dressed choir which occupied three-fourths of the stage balanced in this instance the gay scene the auditorium presented. The whole presented a harmonious and radiant picture which of itself contributed not little to the gratification of all present.

Notwithstanding the large augmentation of the prices, the house was filled from floor to ceiling, and yet so lavish had been the expenditure of the Society securing talent to give finished presentment of the cantata that even this liberal patronage and the exceptional rates will not enable it to balance the outlay. The greater therefore is the indebtedness of the public to Mr. Visetti and the managers of the Society for the heavy sacrifices they made to afford a rich treat and to advance the musical repute of the city. It is pleasure, therefore, to add that these generous efforts were crowned with complete success. "The Golden Legend," however ill-natured may have been the comments of the Berlin critics on its merits, gave the most unqualified satisfaction to the audience. Sustained beauty, pensive sweetness, and dramatic power are stamped on the music throughout. Both vocalisation and orchestration exhibit the creative genius of Sir Arthur more fully than any of his previous works, there being a distinct advance in this respect on "The Martyr Antioch." Looking at the obvious artistic quality of the work, its fulness of melody and descriptive excellence, the more one marvels at the obtuseness the German mind which failed to detect or appreciate these qualities. As our Teutonic neighbours claim be the first of nations in musical feeling, the more we are inclined to suspect that paltry jealousy of English work performed under Court auspices, and conducted its author, during the national celebration of the aged Emperor's birthday, was at the bottom of this captious condemnation of the "foreign " cantata. Had it been of home growth it would have been as much lauded as was condemned. Judging by the reception accorded to it, not in Bath only, but Leeds last autumn, where it was first produced, and on each occasion that it has been performed in London, it gratifies, and likely to for years to come, the musical tastes of Englishmen, who whatever may be their insular prejudices, are not slow to appreciate lyric compositions, and vocalists as well, from whatever clime they may hail.

As we have said, no pains were spared to give completeness to the local performance. The members of the Philharmonic Society were carefully trained by Mr. Visetti and Mr, Albert Reakes; Sir Arthur Sullivan kindly consented to conduct his chef d'œuvre; artists of the foremost rank were engaged for the dramatis personæ, viz., Mr. Edward Lloyd (Prince Henry), Mdlle. Nordica (Elsie), Mrs. Hope Glenn (Ursula), Mr. Watkin Mills (Lucifer); while the band was composed of 60 musicians selected from the bands of the London Philharmonic Society and Crystal Palace. The whole of the performers occupied the stage, which was enclosed with suitable scenery, while the disposition of the forces in semi-circular fashion was very effective. The band occupied the foreground and extended back between the sopranos and contraltos. The former were distinguished by blue the latter by crimson sashes, and all, as usual, wore bouquets of flowers. The tenors and basses formed a dark fringe in the rear, while on either side of the proscenium were groups of choice flowers. Sir Arthur Sullivan was heartily cheered on making his appearance, baton in hand, and a cordial greeting was likewise given to Mr. Visetti and the leading vocalists.

The subject of the dramatic cantata, as it is justly called, was supplied by Longfellow's poem, with the story of which most readers are familiar, and to give even an outline of it is therefore superfluous. The prologue which Lucifer urges the powers of the air to tear down the Cross of Strasbourg Cathedral furnishes, from its weird setting, a keynote to the whole work. The mingling of the voices, male and female, with the sound of bells, admirably portrays the conflict going on between the forces of good and evil and produces a thrilling effect. The scene is worked up to climax of great intensity when the maleficent sprits disperse on the night wind and a delicious repose follows. The solemn tones of the organ then peal forth and the male voices are heard chanting "Nocte surgentes vigilemus omnes."

The scene between Prince Henry and Lucifer is dramatically treated, the pathos with which the Prince describes his unrest being contrasted by the subtlety with which Lucifer recommends his potion. The exhilaration of the Prince after quaffing it is not only expressed in the inspiriting setting of the words "Through every vein." but the effect is marvelously heightened the orchestral arrangement, which suggests " the surging fancies of an excited brain." In the midst of this excitement the angel voices are heard softly singing "Beware, O, beware," the mournful cadence of which is intensified in the "Alas, alas!" to which they give utterance as they contemplate the unconscious Prince overpowered by the potion.

In the next scene, when Ursula is introduced at the hour of evening, is a simple but beautiful "Evening Hymn" sung by the villagers. Like "Brother thou art gone before us" in the "Martyr of Antioch" it unaccompanied, and like that favourite composition it at once won its way to the sympathy of the hearers. It was splendidly given the choir. Firmness and precision, careful marking of light and shale, blended with devotional fervour, characterised the rendering, and an encore emphatically demanded by the audience the conduct felt bound to comply with. The whole of the music of this scene is full of plaintive tenderness, which was exquisitely expressed by Mlle. Nordica, particularly the melody "Why should I Live?" and "My Redeemer and my Lord." The Amen of the Angels which follows Elsie's prayer, and the ejaculatory aspiration of the Prime, give a most effective and soul-stirring finish to the scene.

The next is also remarkable for the charming musical dialogues between Prince Henry and Elsie, a lovely duet "Sweet the air," a grand chant of the Pilgrims, and mocking gibes with which they are greeted by Lucifer. Additional melodic charms are given by the sweet solo assigned to the Prince "It is the sea," and Elsie's reposeful response "The night is calm," the theme of which is taken up by the choir, and with the solo voices blending, a splendid climax is reached, aided by skilful orchestration on the closing words "Christe eleison!" A taking march movement is heard in the Salerno scene, as well as another charming unaccompanied theme, "O pure heart, the rendering of which again attested the intelligence an ability of the choir. Powerfully dramatic is the conflict between the Prince's attendants who demand the release of Elsie and the Fiend, whose triumph is expressed in the brief sentence "It is too late."

In scene the fifth Ursula hears through a Forester (Mr. Lionel Moore) that her daughter safe, the welcome news of which calls forth an impassioned thanksgiving, which ends with heart-moving tenderness.

The last scene is replete with graceful beauty, and consists of a duet between Prince Henry and Elsie as they stand on the terrace of the Castle of Vautsberg on the evening of their wedding day. The music of bells borne faintly from a distance and in tone harmonizing with the voices, adds to the tranquility of the situation, and the tender emotions the lovers are expressing.

The choral epilogue, "God sent His messenger," which follows is masterly treated, the way in which the voices successively take up the different parts and finally combine, accompanied by the full strength of the orchestra, brings the cantata to a conclusion with singular appropriateness and grandeur.

The applause was most enthusiastic, and the recall of the gifted composer with the ovation he again received showed how deeply the audience had been impressed and gratified. Indeed, the performance absorbed attention to a degree rarely witnessed when the assemblage is of he large and promiscuous character like that which crowded the Theatre. All who took part in it must therefore be entitled to praise. Mdlle. Nordica, with her pure and flexible soprano voice and artistic feeling, sang to perfection the music allotted to Elsie. With equal success Miss Glenn rendered the beautiful solos assigned to Ursula, while Mr. Lloyd, who was in splendid voice, sang with his customary taste and expressiveness all he essayed. Mr. Mills, who has a tuneful baritone organ, rendered the music of Lucifer effectively, albeit his voice was not, at times, sonorous enough for the part. Of the choir we have already spoken favourably, and all who heard it last night must feel proud that Bath now commands organised local talent capable of doing so much justice to a.work of this high character. The band, under the leadership of Mr. G. H. Betjeman, played with consummate skill and gave completeness yo the interpretation. Mr. H. J. Davis presided at the American organ, which was supplied by Messrs. Milson and Son.

The second part embraced a descriptive overture "The Coronation," for vocalists and instrumentalists, by Signor Pieraccini, who officiated as conductor. It is a spiritedly-written composition, varied and beautiful in its parts, and was finely rendered. The following are the ideas pourtrayed:— The majestic aspect the temple presents crowded with citizens to witness the great event. The trumpets (outside) announce the "Arrival of the Monarch, " those (inside) answer. A movement of march describes the procession stepping to the altar. A body of maidens have gone to meet the Monarch, and scattering flowers to his feet, sing inviting the people to Rejoice! A special melody given to the cellos, pourtrays the Monarch majestically walking in the middle of the procession. "The ceremony of the Coronation" — largo motto cantabile for strings—"National Hymn" (general chorus). Last and concluding movement, "The general rejoicing, " salvo of guns, bells, etc. Rossini's popular chorus "Prayer of Moses," with harp accompaniment, was afterwards sung by the choir, and Wagner's processional march from Tannhauser, with a verse of the National Anthem, brought this exceptionally grand and interesting concert to a worthy close.

Page modified 2 February 2021