Rossini’s Petite messe solennelle (Little Solemn Mass), the composer’s last large-scale work (1863), is neither little or solemn.

The musical language for most of the time is unusually light hearted in comic opera manner for such a subject – constantly tuneful and life affirming nonetheless. In fact, any criticism might centre on the fact that this style doesn’t always serve to illuminate the meaning of the text.

The work exists in an orchestration by the composer though it is arguable that this original scoring for four vocal soloists, choir, two pianos and harmonium is the more effective. Conductor Graham Abbott marshalled the forces at his disposal with energy and finesse.

Petite messe solennelle, Festival of Voices. Photo supplied

The Festival of Voices Classical Workshop Choir generally produced accurate pitching and well co-ordinated results, singing with gusto in the Gloria and Credo, though some focus and body of tone was lost in the faster moments.

The important solo contributions were well handled by vocal soloists Sharon Prero (soprano), Cassandra Seidemann (mezzo-soprano), Nick Seidenman (tenor), and Samuel Dundas (baritone) with the soprano and baritone outstanding in quality. Dundas was especially fine in the Quoniam tu...