Hobart’s All Saints Compline Choir directed by Nick Caddick began the event with an impressive Regina Caeli à 8 by Palestrina. It followed on with an impassioned and well controlled Let all mortal flesh keep silence (Edward Bairstow) that was contrasted with an otherworldly Kyrie by Paul Smith. The set concluded with the choir, reduced to twelve members, bringing refined and well-modulated results to Walter Lambe’s Nesciens mater.

In Quires and Places, St Mary’s Cathedral, Hobart. Photo © Peter Donnelly

Adelaide’s The Graduate Singers has established a formidable reputation for excellence over its nearly 50-year history. More than 30 singers, about four fifths of its normal full complement, presented an imaginative set inspired by themes of remembrance and belonging, love and loss.

The repertoire was a popular one, introduced by their enthusiastic director Karl Geiger. Evenness of tone and clarity of diction characterised their work; the traditional Scottish Loch Lomond and a sweetly nostalgic Shenandoah (Trad. American) elicited deserved very appreciative audience response, topped off by the concluding Danny Boy without conductor.

One of Hobart’s newest groups Sonus Lux, launched in 2025, sources members from some of our best local vocalists. On this occasion, seven performers brought poise and purity to Josquin des Prez’ Inviolata, integra et casta es, smoothly negotiating the work’s undulating cadences. The juxtaposition of Stravinsky’s Pater Noster with Gesualdo’s O vos omnes – full-throated and intense – with Poulenc’s Salve Regina, projected this ensemble’s excellent quality and versatility.

The vibrant Auckland Youth Choir with Director David Squire concluded the evening and just about stole the show. Performing with immense freshness of tone, power and range, this renowned group presented works by Mendelssohn and Abbie Betinis, accompanied by pianist Claire Caldwell for pieces by Anna Lapwood and Eric William Barnum. Throughout, there was a remarkable feeling of spontaneity and unforced strength.

Following a vividly entrancing Way Over in Beulah Lan’ (Trad. Spiritual), the choir joined hands and formed a huge circle around the nave to give a final and very moving Te Aroha (Te Puoho Katene).