The four young soloists seemed to capture everyone's attention, especially the countertenor David Allsopp who more than one lady wanted to take home with them: wonderfully smooth delivery and power.

He Was Despised wasn't a dirge but heartbreaking with the vocal nuances associated with Handel's tragic opera arias. That he meant every word was clear from his clenched left fist.

Edward Grint, a bass who actually has a low G, 'shook' without a semblance of wobble and had the vocal flexibility not to sound rushed in the fast tempi of Why Do the Nations?

John McMunn was not the stereotypical English oratorio tenor with a tendency to white tone. There was an almost heroic ring to his voice at times from the outset in a strongly proclaimed Comfort Ye.

Messiah soprano soloists are usually reliable but Clare Lloyd was considerably more than that: full top notes in a flowing voice that had an almost creamy warmth and, like her fellow soloists, used her words meaningfully, and you always heard them with clarity from all four.

Ditto, more surprisingly, those from the Bach Choir whose singing was magnificent, full-blooded, extremely well balanced, finely nuanced and with the character that was once theirs restored, let's hope with some permanence.

The playing from members of the National Festival Orchestra was terrific with a trumpet player who played with subtlety and above all a widely exposed violinist, Sally Robinson, who was marvellous.

And there was the evening's hero, Simon Lindley who conducted from memory and worked extremely hard to secure the performance he did. The effort was eminently worthwhile.


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