Elgar’s epic choral masterpiece, setting to music the visionary poem of Cardinal John Newman, requires a “no holds barred” effort from singers and orchestra, and on Sunday it was given just that. The Cotswold Chamber Orchestra was far from chamber-sized; this was a full-blown affair, with the players somehow shoehorned into a seemingly impossible space, the cello section spilling almost into the audience. The choir, as always, was a formidable size, and between them these two mighty forces produced a performance both stirring and memorable.

Conductor Brian Kay kept masterful control, allowing the performers full reign in the more dramatic numbers, but ensuring a more subtle delivery where required, such as in the hushed tones of the Kyrie eleison and the measured tempo of Rescue him O Lord. The repetitions of Praise to the Holiest were appropriately uplifting, and the final rendition, rising up through the Angel’s solo, was glorious. Ben Thapa handled the role of Gerontius with impeccable control and conviction, and if his stamina faltered a little occasionally it didn’t detract from a performance full of dramatic intensity and tonal colour. Vanessa Williamson’s Angel was endowed with warmth and compassion, and the pair interacted well in the Part II dialogue. The richness of Quentin Hayes’s bass was ideal for the dual roles of the Priest and the Angel of the Agony, and he infused both with power and authority — qualities emphasised by the fact that he sang from the pulpit.

This was a performance that captured the grandeur and theatricality of one of Elgar’s most ambitious works, but never overlooking the spiritual message of the piece, which was handled with assurance and sincerity. Huge reserves of physical and emotional energy are needed both by the performers and the audience, and it was almost a relief when the piece reached its triumphant conclusion. Wonderful stuff.