From its first public festival in 2005, the annual Festival of Voices has grown from its humble beginnings to become Australia’s premiere celebration of song, attracting international performers and incorporating a huge range of vocal styles.

This concert presents a varied selection of music by George Frederick Handel, opening with the purely instrumental Music for the Royal Fireworks, written in 1748 as part of a grand outdoor celebration.

King George II had wanted ‘martial music’ without ‘fiddles’. A reported hundred or so wind instruments along with kettledrums (and perhaps a few ‘fiddles’!) took part in that first performance.

Later, in the 20th century, it was the norm to perform this music in modern orchestral arrangements, notably the one by Sir Hamilton Harty.

Dixit Dominus: Federation Concert Hall, Hobart. Photo © Peter Donnelly

It is quite an achievement to mount a presentation in Hobart approximating what might have been heard in 1748, if with a somewhat smaller contingent of players; for this event 19 oboes, eight bassoons, contrabassoon, eight horns, nine trumpets, two timpani and two snare drums. The unique massed wind, brass and percussion timbres and powerful textures, along with the visual spectacle of such an ensemble, will remain in the memory. Sure, intonation is not always perfect, but conductor Simon Reade guides his forces with care and precision in a rousing selection from this wonderful score.

Following a spoken introduction, celebrated Sydney-based choral conductor Dr. Elizabeth Scott then leads the 62 member Come Sing Handel Workshop Choir and the F of V Orchestra in an exciting rendition of the Coronation Anthem from Zadok the Priest (HWV 258). The choral singing is firm and well balanced with the orchestra, which produces playing of appropriate weight and focus.

However, the highlight here is Handel’s youthful masterpiece Dixit Dominus (HWV 232), composed in 1707 by the 22-year-old composer in Rome. It is a setting of Psalm 110 in 8 short sections and contains richly inventive, varied and technically challenging music. Historical authenticity these days dictates a group of around 40 to 50 singers; the Classical Choral Workshop Choir 2026 comprises more than 120.

With minimal full rehearsals possible with soloists, orchestra and choir all together, the resulting performance is wonderfully accomplished; conductor Scott finely shaping and coordinating balances and ensemble. The five vocal soloists are a distinguished group and all make sterling contributions; their combined intertwining vocal lines in the concluding Gloria Patri are electrifying.

The large chorus sings with amazing assurance, tonal weight and accurate pitching with only an occasional blurring of the more complex parts in some moments such as the sixth movement, Judicabit in nationibus. The orchestra gives consistently fine support throughout.

The grand finale has choirs and soloists together on stage for a rousing Hallelujah Chorus from Messiah (HWV 56).

Festival of Voices continues until 12 July.