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...