Hobart’s All Saints Compline Choir directed by Nick Caddick begins the event with an impressive Regina Caeli à 8 by Palestrina. It follows on with an impassioned and well controlled Let all mortal flesh keep silence (Edward Bairstow) that is contrasted with an otherworldly Kyrie by Paul Smith. The set concludes 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, present an imaginative set inspired by themes of remembrance and belonging, love and loss.

The repertoire is a popular one, introduced by their enthusiastic director Karl Geiger. Evenness of tone and clarity of diction characterise their work; the traditional Scottish Loch Lomond and a sweetly nostalgic Shenandoah (Trad. American) deservedly elicit a 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 bring 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 full-throated and intense O vos omnes with Poulenc’s Salve Regina projects this ensemble’s excellent quality and versatility.

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

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