There was the serene flute of Claire Heaney, Stephen Harvey's bright counter-tenor voice singing Gluck's contribution to the Top 20 (Che Faro Senza Euridice) and Telemann's Cello Sonata in D played as a tour de force with exhuberant panache by Mark Davies but pride of place, as there must be, has to be the relatively rarely heard Concerto in F for Recorder and Bassoon, a unique piece of music.
Peter Sneyd (bassoon) and Owen-Morse Brown (recorder) blended with consumate musicality to provide a most memorable conclusion to the concert.
Morse-Brown's phrasing was rounded, almost reverend; Sneyd's articulation and breath control were exemplary.
Reg Burnard
Bath Chronicle Feb 26th 2001
A group of this size and skill enables director Keith Bennett to concentrate on clear articulation of the text, as well as scrupulous observance of the dynamic markings; and the clear, sharp acoustic leaves no room for error - very little kindly resonance here.
The vocal sound was smooth and unforced, very cohesive and well controlled in responding to these timeless choruses; and the choir sustained their drive and energy with great composure throughout this long athletic sing.
A particular highlight was the bite and attack in Surely, supported by splendidly percussive string playing.
Faye Newton's soprano was wonderfully uninhibited in attacking the high notes - a lovely fresh bloom in the voice; Stephen Harvey - inn at 24hours' notice - brought style and elegance to the alto solos; Kevin Mclean-Mair's warm cultured tenor oppened thhe piece on exactly the right emotional level; and Niall Hoskin's The Trumpet Shall Sound - with incisive trumpet-playing from Michael Daniels - was an object lesson in how this great aria should be sung.
This Messiah was an outstanding combination of local music-making at its best - and it lost nothing in comparison with some better known professional ensembles.
Peter Lloyd Williams
Bath Chronicle December 2000