A church packed to the rafters, infectious enthusiasm from conductor and choir, a whiff of Berlioz - all things that I noted when reviewing Eynsham Choral Society's concert last December. All featured again this year.

The whiff of Berlioz occurred at the start of the Sanctus in Mozart's Mass in C minor, the principal work in this year's concert. After a precision entry (one of many during the evening) delivered at full volume, the choir immediately powered down to near silence as the words "Dominus Deus" approached - very Berlioz. Conductor Alison Wilson is not one to hang about: Jesu Christe, for instance, can almost seem to drag, but it certainly didn't in this performance. And Ms Wilson really kept the choir on its toes during the Credo.

Impressive, too, was the balance maintained between the four choral parts, and between the choir and the responsive orchestra. In particular, the heavily outnumbered tenors and basses kept their end up very well. But the whole choir sang with the confidence to be gained when you are part of a large group - so it was perhaps not surprising that moments of alarm seemed noticeable only during the eight-part passages in Qui Tollis.

Mozart composed his C minor Mass as a thanks offering following his marriage to Constanze Weber, so it's a fair bet that Laudamus te and Et incarnatus est were written for her to sing. Here, Siona Stockel did these glorious arias full justice. A strong line-up of soloists was completed by Rebecca Hodgetts, Thomas Herford, and Richard Weston.

Mozart was followed by John Rutter's Gloria. Written to a commission from the Voices of Mel Olson, based in Omaha, Nebraska, the work is a suitably showy display piece, featuring both fancy brass playing and full-belt choral singing. Both singing and playing were tackled with precision and lan, but inevitably this work sounded shallow when placed against the sublime Mozart Mass.