"If music be the food of love, play on."

Originally spoken by Duke Orsino in Act one of Shakespeare's 'Twelfth Night', the words have also been taken to heart by Mrs. Marjorie Pettit, director, and the St. John's Youth Choir who, for the past decade, have faithfully presented a gourmet feast using the finest ingredients from the classical, sacred, folk and contemporary reopertoires.

Beautifully prepared and served to perfection, this year's Heritage Concert, like its predecessors, offered something for every taste, all of it eminently appealing and unfailingly digestible. As always, the 'menu' was generous — 14 separate works in all, with the finale, the cantata version of Lord Lloyd-Webber's 'Joseph and the Amazing Technicolour Dreamcoat', having 14 components in itself.

'Perfection' is the by-word by which Mrs. Pettit lives and prepares her young charges, who range in age from approximately eight to 18, and it is also the goal towards which they happily strive. The process demands patience and dedication, and involves months of training and preparation — but oh, how those collective efforts pay off.

Immaculate diction; crisp, clear singing, and above all an obvious love of music are all hallmarks of St. John's Youth Choir performances, making each Heritage Concert an event which is eagerly anticipated, a joy to attend, and a memory to savour.

Best of all, perhaps, is the annual reminder that, within its tiny confines, Bermuda harbours a wealth of young talent which, when properly nurtured and encouraged, bodes well for a bright cultural future.

The programme, carefully balanced to showcase the young choristers, as well as individual musicians and singers, included works 'ancient and modern', including some sung, commendably, in foreign languages.

Setting an appropriately spiritual beginning for this ecclesiastical venue, the programme began with Patrick Doyle's 'Non Nobis Domine', followed by Karl Jenkins' 'Ave Verum', Bach's 'Domine Deus', and Brahms' 'How Lovely is thy Dwelling Place' from his 'German Requiem'.

Whether as soloists, ensemble singers, or 'senior girls', Paige Hallett, Jordan Robbins, Adrienne Miller, Emily Ross, Jenna Kessaram and Chelsea Mayeaux were indeed impressive — as they would prove more than once as the programme progressed. So too was Honor Brady in her solo, 'Sure On This Shining Night' by Samuel Barber.

Lovely, clear voices, immaculate enunciation, and poised, thoughtful presentations made listening a pleasure in every case, as was the deceptive ease with which they addressed different styles of music.

But then, 'deceptive ease' could be applied equally to the choral work, which presented its own challenges, particularly in the fast-paced and foreign language pieces, yet it was always possible to hear clearly the words, even as one marvelled at the overall execution.

Whether it was the familiar passages of Borodin's 'Choral Dance', the spiritual 'Down by the Riverside', Rachel Portman's 'The Birds', or the Trinidadian song, 'Ophelia Letter Blow 'Way', the listening experience was the same: polished and delightful.

In the first of two Vivaldi works for double instruments, sisters Christine and Katherine Allison, aged 16 and 14 respectfully, presented the 'Concerto for Two Violins and Strings in A minor'. Part of the group known as 'L'estro armonico' (Harmonic Inspiration), the concerto's classic fast-slow-fast movements add up to a brightly toned, joyful work thanks to a score imbued with elements of playfulness, and shades of light and dark.

Played entirely from memory, the sisters reading was assured, rich in understanding, confident in technique, and beautifully performed. Of the nearly 50 concertos Vivaldi wrote for two soloists, strings, and continuo, his 'Concerto for Two Flutes in C Major' is the only one written for this instrument, and specifically the transverse flute.

Its three movements, fast-slow-fast structure, are generally lighthearted. The ritornello form provides for echoing and parallel movement between the two instruments, while the middle movement (Largo) is scored for flutes and continuo (in this case the harpsichord, ably provided by Jenna Kessaram) only. Under the baton of Lisa Maule, soloists Jordan Robbins and Chelsea Mayeaux, also playing from memory, simply shone in a performance that was as inspiring as it was lovely.

Exchanging their traditional red and white gowns for coloured T-shirts and jeans, the 60-strong choir brought the 2008 Heritage Concert to a stirring end with a superlative presentation of 'Joseph and the Amazing Technicolour Dreamcoat.' Performing with obvious joy and enthusiasm, the singers lifted their high, clear voices clear to the rafters, and with them our spirits.

In addition to Mrs. Pettit's wonderful vision and direction, tribute must be paid to the very fine orchestra, led by Kerry Haslam and joined occasionally by Honor Brady and Emily Ross (cellos); pianist Andrea Hodson, organist William Duncan, and drummer Peter Profit, for their important contributions to this evening of excellence.