14 and 15 at St. John's Church.

In a felicitous mix of the sacred and the secular, Marjorie Pettit's Evening of Choral Music provided a resounding success for this year's local contribution to the Bermuda Festival.

A dynamic conductor, as proficient in the nuances of opera as she is in oratorio, Pettit devised a delectable programme that embraced the sublime sounds of Bach and Beethoven, the lyricism of Bizet, Saint-Saens and Donizetti, and closing with Verdi in orchestral and operatic full throttle.

Bach's Cantata No. 172, as its title (Sing Praises! Your Voices!) suggests, is a joyful work, written for Pentecost. The specially selected orchestra, led by Kerry Haslam, with some dazzling trumpet playing by Timothy Rhodes, Tim Schadt and Nancy Taylor, captured the celebratory warmth of the piece. Singing the German text, the choir of almost 70 voices was impressive in its tonal sound, phrasing and diction. Solo baritone Brian Zunner, making a most welcome return visit, gave a gloriously rich account of `He who loves me' and the aria `Blessed Holy Trinity'. Then, after a lyrical introduction from the strings, `O Paradise of Bliss' was imbued with the effortless beauty of Bermuda's Gary Burgess in this lovely tenor aria.

The main work of the evening was Beethoven's five-part Mass in C Major for orchestra, choir and four soloists. Commissioned by that great musical patron, Prince Esterhazy, this mass, although the composer's first, contains passages of unearthly beauty and has since become an intrinsic part of the international choral repertoire. In this first Bermuda performance, both orchestra and choir gave an inspired rendition of a demanding work.

Fortunately, Marjorie Pettit is always able to attract a fine assembly of male singers (not always a `given' in Bermuda) which provided the necessary balance for the larger contingent of soprano and alto voices.

Starting in relatively low key, the Kyrie of the Latin mass was punctuated by the uplifting melody of guest artist Mary Kay Barrington, a powerful and clear-toned soprano who is a former student of Burgess and now a member of his Great Buffalo Opera Company. In one of the loveliest passages of this work, the solo tenor of Burgess soared over the exultantly sung Gloria with some exquisite and effortlessly held notes until he was joined by the magnificent contralto of Jane Farge, soprano Barrington and baritone Peter Nash in the gloriously melodic and climactic quartet.

The second half of the programme brought the three concluding sections, with the quartet of soloists leading the Credo, and moving through the dramatic splendours of the Sanctus `Hosannas', and finally concluding with the beautifully phrased and intensely lyrical reading of the composer's Agnus Dei.

The remainder of the evening brought pleasures of another kind (and with it, plenty of delicious shivers up and down the spine) with excerpts from four famous operas.

Those of us who heard Gary Burgess and Brian Zunner sing the fabled `Au font du Temple Saint' from Bizet's `The Pearl Fishers' in a previous Marjorie Pettit concert, will never forget the perfection of that duet. Now, by popular request, they repeated this infinitely moving piece which, to an accompaniment of melting harp and plaintive flute, dwells on the theme of eternal friendship. Zunner, also a former pupil of Burgess, is a fine baritone who performs with touching passion, an expressive foil for the master who sings with such fluidity and grace.

One of the undoubted highlights of this enthralling programme was Jane Farge in `Softly Awakes My Heart' from Saint-Saens' `Samson and Delilah'. With this immensely powerful yet velvet-toned contralto voice, it is little wonder that Samson could resist this vocal siren as she wooed him with one of opera's greatest love arias. Jane Farge is an outstandingly gifted and accomplished singer who is all too rarely heard in Bermuda: let us hope that her huge success in this concert will tempt her onstage far more often.

The sextet from Donizetti's `Lucia di Lammermuir' (based on Sir Walter Scott's tragic tale) is always another show-stopper, and this performance was no exception. In a gorgeous melding of voices led by soprano Barrington (distraught by accusations of betrayal from her lover), this virtuosic gem was magnificently sung by Gary Burgess, Jane Farge, guest artist Jeffrey Halili, Brian Zunner and Peter Nash.

Finally, the entire company gathered for the grandiose, yet justly celebrated Triumphal March from `Aida'. Commissioned to commemorate the opening of the Suez Canal, Verdi professed to be disgusted by the royal extravagances that attended the premiere, but even so, he came up with a memorably melodic score which cannot help but affect the listener with its dramatic intensity and rich orchestration -- once again, the trumpets (and splendid percussion of Glynn Quarterly) almost stole the show in this clarion call to the glories of war.

All in all, a brilliant exposition of what can be achieved in Bermuda and which, under the leadership and guidance of such gifted artists as Marjorie Pettit, Gary Burgess and the Menuhin players, has already elevated music to heights that were unthinkable even as recently as 20 years ago. For this, we should all be truly grateful.

PATRICIA CALNAN THEATRE REVIEW THR REV ENTERTAINMENT ENT