THE York Musical Society Chorus and Orchestra were joined by the Saint Michael’s Singers from Coventry in a memorably moving performance of this remarkable Verdi Requiem.

The opening Requiem had a majestic feel: the performers clear and confident. The Kyrie introduced the excellent quartet of soloists. The effect was operatic; indeed drama was very much at the heart of this work and indeed this performance.

The Dies Irae always hits the spot, but with forces unleashed by this massive choir, orchestra and the Minster acoustic, the sense of power radiating from the score was awesome. Off-stage trumpets in the Tuba Mirum effectively ushered in a call to judgement; the impact was electrifying and the choral response was compelling.

Baritone Julian Tovey delivered a superb solo which had an other-worldly feel to it. Mezzo-soprano Kate Symonds-Joy’s solo was richly lyrical and the intimate Quid sum miser trio had a passionate integrity. Tenor David Butt Philip sang the Ingemisco beautifully and with superb orchestral support ,which never compromised his emotional delivery or the text.

The Sanctus is a high-octane, eight-part fugue for double chorus. The choir were simply magnificent. The tender Agnus Dei was just lovely, delicately clothed in musical humility. The performance of the Lux Aeterna had a rich, chocolatey sound, but it was left to soprano Gweneth-Ann Jeffers to deliver a compelling plea for deliverance.

To be sure the work ended with a sense of resolution, a spiritual journey completed, but there was a sense of menace still hanging in the air. Conductor David Pipe controlled these huge forces with remarkable musical sensitivity.