KEY POINTS:
Viva Voce's An Early Christmas started the festive season with a selection of what we were told would be "enchanting music of the Nativity".
After John Rosser had conducted a bustling opening chorus from Bach's Christmas Oratorio, the promised enchantment came in Charpentier's In Nativitatem Domini Nostri Jesu Christi Canticum.
This is exquisite, a cantata of humble proportions which cuts to the heart, from a 17th century composer who has the divine simplicity of a Faure.
A small but spirited group of instrumentalists led by the indefatigable Dianna Cochrane augured well.
Solos were fetching, especially sopranos Emma Roxburgh and Morag McDowell in tandem and Susie Ewart's appropriately angelic Air de l'Ange; the choir were particularly tune-blest shepherds.
A bracket of early carols and motets displayed Viva Voce's experience and professionalism, particularly in the medieval Hail, Mary which pitched quartet against a larger body of singers.
The final In dulci jubilo, vibrantly set by Samuel Scheidt for two trumpets, organ and double choir, was thrilling enough without any need for Rosser's introductory quip that the composer's name "even sounds slightly rude in German".
After interval guest of honour Teddy Tahu Rhodes took the baritone solos in Vaughan Williams' Fantasia on Christmas Carols. Here, Rosser claimed that the composer simply let the carols do the work. In fact, the musicians added incalculably to it; Rhodes could have converted the Devil himself with This is the truth from above while the choir followed Rosser's sensitive phrasing right through to the closing New Year wishes.
Bach's Magnificat was a tad disappointing, although Rosser's forces responded remarkably well to some breakneck pacing in the opening chorus.
There were some lovely, idiomatic performances. Emma Roxburgh dispensed the brightest of joy in her Et exultavit, although the orchestra did not seem so celebratory beneath her.
Others did not make the same impact - even Rhodes seemed slightly cautious in his Quia fecit, while the Suscepit Israel suffered from a lamentable trio.
Rosser, the inveterate showman, closed with a seasonal encore, the perfect reward for what was the largest audience Viva Voce has received at one of its concerts in this venue.
