MUSIC lovers from all over the county packed the cathedral to hear one of Bach’s greatest and best-loved works.

The St Matthew Passion is intensely dramatic and demanding.

Bach asks for two choirs and two orchestras, and wrote large-scale polyphonic choruses where words dissolve into music alongside recitative secco, and clarity is all-important to the telling of the story, with the sayings of Jesus set apart, encircled by the ethereal glow of violins.

The part of the storyteller, the Evangelist, was taken by James Gilchrist and sung entirely in recitative, but one that was electrifyingly dramatic, with a voice of perfect tone, range and flexibility. It is a huge and demanding part, the dramatic backbone of the work, and was a very fine and memorable performance.

The role of Jesus was taken by Paul Carey Jones, another fine and distinguished singer, who handled the part with a moving sense of pathos and dignity.

Adam Green was welcomed back as an ex-chorister of Ripon Cathedral Choir School and sang a rich and resonant bass. John Bowley’s tenor was effortless and unstrained.

Nicki Kennedy’s lovely clear soprano voice gradually strengthened in control.

The alto part was taken by the leading counter-tenor James Laing, whose haunting voice and account of Have Mercy Lord, with solo violinist Eileen Spencer, will long be remembered.

Without this country’s great tradition of amateur choral societies, there would be no performances of these inspiring choral works as the cost would be prohibitive. Members give up days to rehearse and practise purely for the love of singing and of beautiful music.

Ripon Choral Society, drawn from a comparatively small population, is of a high standard and able to cope well with difficult scores requiring a high level of musicianship.

Pitch, delivery and timing of difficult entries were all excellent in this impressive performance The Orchestra D’Amici, led by Eileen Spencer, offered a professional standard with beautiful playing from the woodwind, continuo and the cello substitute for viol de gamba, to mention a few of the gorgeous sounds.

The conductor, responsible for the final bringing together of such a wonderful performance, was John Dunford, who led his large forces with calm resolution and a strong, clear beat. He received an enthusiastic ovation from audience and players.

The performance brought alive in a remarkable way the tragedy and pathos of the events leading up to the crucifixion and burial, illuminating for all, of whatever faith or creed, the terror and bleakness of the Passion, devoid of the Resurrection, before the coming of Easter.

Bronwen Brindley